Aphrodite's servants, who represent cheerfulness, splendour and happiness, have shed their mythological garments. Relief based on the original Greek sculpture in the Louvre from the 1st century B.C. Polymer ars mundi museum replica cast by hand. Size 40 x 40 cm, with hanging device.
Horses and riders were a particularly popular motif in classical Greece. The detailed depiction with the unmistakable individuality of the profile is already clearly Hellinistic. Found in Rhodes, 100th century BC, marble. The original hangs today in the MMA, New York, polymer ars mundi museum replica cast by hand. Size approx. 33 x 47 cm. With suspension device. Weight 7 kg.
Before Apollo's health-giving son was transferred to the constellations as Ophiuchos ('serpent bearer'), he swam from his Epidaurian pilgrimage temple to Rome in the form of a serpent, bringing blessings, as legend has it. The reptile curling upwards in spirals on his staff has remained the most striking symbol of medicine to this day. Replica based on an ancient model from Epidaurus, around 350 BC. Cast metal, height with shell limestone base 23 cm.
Armed with breastplates, shields and Corinthian helmets, the heroes of Greece marched towards Troy. Original: Staatliche Museen zu Berlin - Preußischer Kulturbesitz. Around 500 BC, Dodona. Finely patinated cast metal, height with base 15 cm.
The agon, the athletic competition, was a passion of the Greeks. The wrestlers performed naked; after all, the human body was considered the most perfect divine creation. The artist therefore endeavoured to depict the bodies as perfectly as possible and closely observed the fighters' muscular play from all sides. Original: Museo degli Uffizi, Florence, Greek-Hellenistic, 3rd century BC, marble. Polymer ars mundi museum replica, moulded by hand. Reduction, height 44 cm. Weight 19 kg.
In gratitude for a naval victory over King Antiochos III of Syria, the inhabitants of Rhodes had the famous goddess of victory made. It was found in 1863 above the Kabiren sanctuary. Original: Musée du Louvre, Paris. High Hellenistic. Around 190 B.C. Marble. Polymer ars mundi museum replica, moulded by hand. Reduction, size 11 x 19.3 x 14 cm.
In gratitude for a naval victory over King Antiochos III of Syria, the inhabitants of Rhodes had the famous goddess of victory made. It was found in 1863 above the Kabiren sanctuary. Original: Musée du Louvre, Paris. High Hellenistic. Around 190 B.C. Marble. Polymer ars mundi museum replica moulded by hand. Reduction, height with plinth 33 cm. Weight 1.7 kg.
As thanks for the naval victory over Antoniochos III of Syria, the inhabitants of Rhodes had this original masterpiece of Greek sculpture, which is over 2 metres tall, made. As a sign of victory visible from afar, it announced the safe harbour to sailors. The original, which was rediscovered in 1863 above the Kabiren sanctuary, has lost none of its charm to this day. Numerous objects in cultural history - from Christian angels to Yves Klein's icon of pop art or the 'Emmy' radiator grille from Rolls Royce - were inspired by the world's most famous symbol of victory. Original: Musée du Louvre, Paris. High Hellenistic. Around 190 B.C. Marble. Polymer ars mundi museum replica, moulded by hand. Reduction, height with diabase base 54 cm, width 30 cm, depth 18 cm. Plinth size 18 x 4 x 18 cm.
It was commissioned more than 2000 years ago by the inhabitants of Rhodes to commemorate the naval victory over Antiochos II of Syria and signalled the arrival of a safe harbour to the sailors of the time. Even then, it was considered a masterpiece that was unrivalled. Its artistic significance was immediately recognised when it was rediscovered in 1863 above the Kabiren sanctuary on the island of Samothrace. It soon found its way into the Louvre, where today it has found a prominent and imposing location at the top of the Daru Staircase, the staircase between the ground floor and the first floor, and the Nike of Samothrace quickly became an icon. It became the model for a multitude of variations (just think of the Rolls Royce radiator grille) and inspired countless artists such as Salvador Dalí, Andy Warhol and Yves Klein to engage in artistic dialogue - one of Yves Klein's 25 deep blue Nike figures from 1962 achieved an auction price of almost 100,000 US dollars in 2013.ars mundi offers you the symbolic figure for 'Winner' as a pop art version in black.polymer ars mundi museum replica, cast by hand. Reduction of the 2.45 m high original sculpture to a height of 33 cm (with base). Weight approx. 1.7 kg. ars mundi exclusive edition.
It was commissioned more than 2000 years ago by the inhabitants of Rhodes to commemorate the naval victory over Antiochos II of Syria and signalled the arrival of a safe harbour to the sailors of the time. Even then, it was considered a masterpiece that was unrivalled. Its artistic significance was immediately recognised when it was rediscovered in 1863 above the Kabiren sanctuary on the island of Samothrace. It soon found its way into the Louvre, where today it has found a prominent and imposing location at the top of the Daru Staircase, the staircase between the ground floor and the first floor, and the Nike of Samothrace quickly became an icon. It became the model for a multitude of variations (just think of the Rolls Royce radiator grille) and inspired countless artists such as Salvador Dalí, Andy Warhol and Yves Klein to artistic exploration - one of Yves Klein's 25 deep blue Nike figures from 1962 achieved an auction price of almost 100,000 US dollars in 2013.ars mundi offers you the symbolic figure for 'Winner' here as a pop art version in red.polymer ars mundi museum replica, cast by hand. Reduction of the 2.45 m high original sculpture to a height of 33 cm (with base). Weight approx. 1.7 kg. ars mundi exclusive edition.
It was commissioned more than 2000 years ago by the inhabitants of Rhodes to commemorate the naval victory over Antiochos II of Syria and signalled the arrival of a safe harbour to the sailors of the time. Even then, it was considered a masterpiece that was unrivalled. Its artistic significance was immediately recognised when it was rediscovered in 1863 above the Kabiren sanctuary on the island of Samothrace. It soon found its way into the Louvre, where today it has found a prominent and imposing location at the top of the Daru Staircase, the staircase between the ground floor and the first floor, and the Nike of Samothrace quickly became an icon. It became the model for a multitude of variations (just think of the Rolls Royce radiator grille) and inspired countless artists such as Salvador Dalí, Andy Warhol and Yves Klein to artistic exploration - one of Yves Klein's 25 deep blue Nike figures from 1962 achieved an auction price of almost 100,000 US dollars in 2013.ars mundi offers you the symbolic figure for 'Winner' here as a pop art version in a silver-coloured version.polymer ars mundi museum replica, cast by hand. Reduction of the 2.45 m high original sculpture to a height of 33 cm (with base). Weight approx. 1.7 kg. ars mundi exclusive edition.
Standing tall in a proud, powerful and at the same time relaxed pose, the god of the sea clutches his trident, with which he is able to stir up the waves and shake the earth. Original: Staatliche Antikensammlung und Glyptothek, Munich. Greek, restored condition, 2nd century B.C. Finely patinated cast metal, height with base 27 cm.
'I know that I know nothing' was to become the essence of the teaching of the man whom the Delphic oracle proclaimed to be the wisest of his time. In Delphi, the god Apollo had killed the dragon Python. The spirit had overpowered the spirits of the animate and inanimate world. The Greeks had thus erected a temple to reason. Socrates was born into this already enlightened age, the son of a midwife and a stone carver. We do not know whether Socrates followed in his father's footsteps, but he had the money for equipment and weapons to take part in three campaigns as a hoplite, in which he proved to be strong, prudent and courageous, for example when he pulled his injured friend Alcibiades and his weapons out of the thick of battle. We know from his students, first and foremost Plato, that Socrates, who wrote nothing himself, spent a large part of his life in the agora, the centre of life in Athens, in order to hold in-depth discussions with his fellow citizens. Whether with the craftsman, merchant, politician, judge or the wise sophist, he wanted to find out what was right and proper in their thoughts and actions. Socrates was convinced that the ability to recognise the good, as divine light, as a divine gift, as God, was inherent in every human being. Incidentally, in the biblical story of creation, the same, here positive, basic idea was constructed for the tragic fall of man. Socrates developed a form of probing, questioning dialogue, as a result of which the interlocutor often had to refute his originally supposed knowledge himself. He called this questioning technique his midwifery, his spiritual midwifery. Through his penetrating dialogues and his way of thinking, he made friends, such as those who later founded schools of philosophy in his spirit, but also enemies, whose vanity and careers he stood in the way of. For Socrates, ignorance or illusory knowledge was just as reprehensible as malicious deception, because: 'Man acts badly when he does not know what is good! How topical! True to the Delphic saying 'Know thyself', he never stopped searching for an ethical basis for correct thinking and behaviour in his love of wisdom, philosophy, for fundamental values such as virtue, justice or bravery. His opponents accused him. He was sentenced to death by the organs of the still pubescent democracy for 'corrupting the youth' and 'disrespecting the Greek gods'. He himself said in his defence speech that he should rather receive a lifetime of honours for his work, like the Olympic champions. Nevertheless, he accepted the wrongful conviction in line with his own moral standards, because 'it is better to suffer injustice than to do injustice'. He became immortalised with his sovereign way of going to his death. 'Don't forget to sacrifice a rooster to Asclepius' were his last words after he had drunk the cup of hemlock. Where is the Socrates of our time? In each and every one of us! Let this sincerely wise man watch over your decisions. Socrates (469-399 BC): Polymer museum replica. Art marble. Size 20 x 12 x 6 cm (h/w/d). Correct portrait of the philosopher as an unfinished work after a figure from the 4th century BC in the British Museum.
People went to him for healing when no human healer could help them: Throughout antiquity, the temple of the physician of the gods Asclepius (Asclepius) in Epidaurus was a place of pilgrimage. The large statue of the god in the temple itself, as reported by Pausanias, was lost in the turmoil of time. What remains are small statuettes like this one, with which those saved by his divine art of healing paid tribute to him. The sculptor's model shows Asclepius in a typical depiction with his viper coiled around his staff as a powerful figure characterised entirely by his will. Polymer ars mundi sculptor's model, cast by hand and partially gilded by hand. Reduction. Height 30 cm.
According to tradition, a wooden horse was used to conquer Troy. The Greeks worshipped the horse, which was dedicated to the sea god Poseidon, among others. Statuette modelled on the Greek model. Solid brass, patinated by hand. Size 19 x 14 x 3.5 cm (h/w/d).
This icon of antiquity dates back to the height of Hellenism. The influence of Greek culture had reached its peak when this sculpture was created. Rediscovered in 1820 on the south-west Cycladic island of Milos, the statue is still one of the Louvre's greatest art treasures today. Original: Musée du Louvre, Paris. Hellenistic, 2nd century B.C. Marble. Polymer ars mundi museum replica moulded by hand. Reduction, height including base 32 cm. Weight 1.5 kg.
This icon of antiquity dates back to the height of Hellenism. The influence of Greek culture had reached its peak when this sculpture was created. Rediscovered in 1820 on the south-west Cycladic island of Milos, the statue is still one of the Louvre's greatest art treasures today. Original: Musée du Louvre, Paris. Hellenistic, 2nd century B.C. Marble. Polymer ars mundi museum replica moulded by hand. Reduction, height including plinth 88 cm. Weight approx. 30 kg.
Original: Staatliche Museen zu Berlin - Preußischer Kulturbesitz, Antikenmuseum. The sculpture comes from Dodona, around 470 B.C. Finely patinated cast metal. Height with base 15 cm. Weight 1.5 kg.
The Greek father of the gods received thunderbolts and thunderbolts from freed Cyclopes as thanks, which secured his power. Original: Staatliche Museen zu Berlin - Preußischer Kulturbesitz, Antikenmuseum. Dodona, c. 470 BC Green patinated cast metal, partially gilded, on a black diabase base. Size 16 x 14 x 4 cm (h/w/d).
A highlight of Cretan-Mycenaean art. This statuette, found in the central cult room of the palace of Knossos, depicts a goddess: The female garment with a tightly belted waist and bare chest is characteristic of the Minoan era. The goddess wears a stylised panther on her head. Heraklion Archaeological Museum, Crete. Knossos c. 1700 BC Polymer museum replica, hand-painted. Height 30 cm.
Hermes, messenger of the gods, was the patron god of merchants and travellers. This fragment of a lost monumental statue of Hermes is an eye-catcher - and an amusing and decorative doorstop.Original: British Museum, London. Greece, classical Hellenistic, ca. 2nd century B.C. Polymer ars mundi museum replica, cast by hand. Size 35 x 17 cm. Weight 5 kg.
The gilded bronze horses from a late classical Greek quadriga, which have been admired for two millennia, once adorned the imperial box at the Hippodrome in Byzantium. In 1204, Venice's holy warriors under Doge Enrico brought them to the lagoon city as booty from the 4th Crusade. When they were pulled up in front of St Mark's Cathedral and took their place above the main portal in the centre of the church façade, the onlookers on St Mark's Square were gripped by boundless enthusiasm. The horses have since travelled far and wide: an international tour also took them to Berlin. Reduction, modelled on the original bronze horses from the Museo Marciano in San Marco, Venice. Polymer ars mundi museum replica cast by hand; with bronzed surface, patinated by hand and partially gilded. Length 26 cm each. Weight 2.6 kg each.
The gilded bronze horses from a late classical Greek quadriga, which have been admired for two millennia, once adorned the imperial box at the Hippodrome in Byzantium. In 1204, Venice's holy warriors under Doge Enrico brought them to the lagoon city as booty from the 4th Crusade. When they were pulled up in front of St Mark's Cathedral and took their place above the main portal in the centre of the church façade, the onlookers on St Mark's Square were gripped by boundless enthusiasm. The horses have since travelled far and wide: an international tour also took them to Berlin. Reduction, modelled on the original bronze horses from the Museo Marciano in San Marco, Venice. Polymer ars mundi museum replica cast by hand with bronzed surface; patinated and partially gilded by hand. Length 26 cm. Weight 2.6 kg.
