16th Century, Spanish Wrought Iron Handle

16th century Venetian bronze door knock with children figures on the sides and faces in the middle.

These fireplace andirons were designed as a one piece structure made of wrough iron. They are from Spain, situated in the 16th century.

16th Century Spanish iron window with a wooden frame.

1950s Wrought iron Anvil.

19th Century German Iron Padlock.

Mexican chest. New Spain, 18th century. In polychrome wood. Slight paint losses on the lid. Measurements: 7 x 16 x 6.5 cm. Wooden chest from the vicerega...

Key of strong box in wrought iron, dated in century XVII, with complex design in the head, hollow body and finishes in the form of flattened arch." · Size...

16th Century Spanish Terracotta Vase Hand made marks around the vase.

16th Century Spanish Terracotta Vase Hand made marks around the vase.

Adjustable wrought iron and wood candle holder with wood base and snipe nail.

A unique piece of scientific equipment, this antique cast iron scale would have been used in a Spanish pharmacy during the 1800s. The main cast...

Inkwell Calamelli workshop (attr.). Faenza, second half of the 16th century Height 4.33 in; length 8.07 in; depth 2.95 in (11 cm; 20.5 cm; 7.5 cm) Weight: 0.800 lb (363 g) State of conservation: some chipping to the top of the mask around the mouth. Handle glued, without any restorations; minor chips in some raised areas. This object has the shape of a foot wearing Greek-style footwear, as can be seen in some raised areas. The foot is anatomically modeled with bare toes, while the ankle is partially covered by the footwear. On the heel, there is a small circular handle to support the object. The mouth of the container is shaped like a mask. The interior, completely enameled, suggests that the piece was intended to be used as an inkwell or to contain some other liquid. The base, however, is not enamelled. The painted decoration, scant and brief, consists of rapid cobalt blue shading between the toes of the foot, with more precise emphasis on the nails. It is accompanied by yellow citrine accents to enhance the forms. The mask is painted with the tip of the brush, to accentuate the tense nature of the eyes and to accentuate their outline. Thin strokes of yellow-orange line the interior of the mouth. Since the Renaissance, this decoration has been referred to as "compendiaria" and it characterizes the period of production extending from the mid-16th century to approximately the middle of the following century. It significantly influenced tastes at the time. It evolved from the polychrome style "istoriato" and transformed into a new style that "summarized" (compendia), or condensed, the ornamentation of the works into a few colors, placing greater prominence on the shapes. It was often inspired by metal specimens. Since the Renaissance, this decoration has been referred to as "compendiaria" and it characterizes the period of production extending from the mid-16th century to approximately the middle of the following century. It significantly influenced tastes at the time. It evolved from the polychrome style "istoriato" and transformed into a new style that "summarized" (compendia), or condensed, the ornamentation of the works into a few colors, placing greater prominence on the shapes. It was often inspired by metal specimens. This artwork finds parallels in similar objects all characterized by this refined style and produced in the city of Faenza and other Italian centers starting from the mid-16th century. The closest comparable example in majolica is a foot acquired by the British Museum in 2011 (inv. 2011, 8008.1). This was previously published by Carmen Ravanelli Guidotti in 1996 and later by Dora Thornton in 2016 during the conference on Renaissance ceramics...