16th Century Sculptures

Sea monster Carrara marble mouth fountain Italy, late 16th century It measures 13.8 x 31.5 x 18.9 in (35 x 80 x 48 cm) State of conservation: some small evident gaps and widespread signs of wear due to outdoor exposure. The gray marks crossing it do not come from restoration, but are rather the natural veins of the marble. This work has some morphological characteristics typically associated with the iconography of the sea monster: an elongated muzzle, sharp teeth, protruding eyes, elongated ears, and a coiled serpent's tail. An in-depth series of studies on artistic depictions of the sea monster attempted to verify how this symbol evolved in antiquity in the European and Mediterranean contexts and how it gradually changed its image and function over time. The iconography itself is mutable and imaginative and its history is rich with cultural and artistic exchange, as well as the overlapping of ideas. This occurred so much that it is difficult to accurately pinpoint the "types" that satisfactorily represent its various developments. However, we can try to summarize the main figures, starting from the biblical Leviathan and the marine creature that swallowed Jonah (in the Christian version, this figure was to become a whale or a "big fish", the “ketos mega”, translation of the Hebrew “dag gadol”). Other specimens ranged from the dragons mentioned in the Iliad (which were winged and had legs) to "ketos” (also from Greek mythology), the terrifying being from whose Latinized name (“cetus”) derives the word "cetacean". See J. Boardman, “Very Like a Whale” - Classical Sea Monsters, in Monsters and Demons in the Ancient and Medieval Worlds, in Papers presented in Honor of Edith Porada, Mainz am Rhein 1987, pp. 73-84). In Italy the monster underwent yet further variations: it can be found in Etruscan art on the front of some sarcophagi representing the companion of souls, while among the Romans we find the “Pistrice” (cited by Plinio in Naturalis Historia PLIN., Nat., II 9, 8 and by Virgilio in Eneide: VERG., Aen., III, 427), which appeared in the shape of a stylized hippocampus or a very large monstrous cetacean and evolved into a hideous being with a dragon's head and long webbed fins. During the Middle Ages, the sea monster was the object of new transformations: at this time, it is often winged, the head is stretched like a crocodile, the front legs are often very sharp fins - sometimes real paws - until the image merges with dragons, the typical figures of medieval visionary spirituality widely found throughout Europe (on this topic and much more, see: Baltrušaitis, J., Il Medioevo fantastico. Antichità ed esotismi nell’arte gotica, Gli Adelphi 1997). In Italy during the 15th and 16th centuries, the revival of classicism - representative of the humanistic and Renaissance periods - led to a different reading of these "creatures". Indeed, the sea monster was also to find widespread use as an isolated decorative motif, especially in numerous fountains and sculptures where dolphins or sea monsters were used as a characterizing element linked to water (on this theme see: Chet Van Duzer, Sea Monsters on Medieval and Renaissance Maps, London, The British library, 2013). From the morphological point of view, the "sea monsters" of this period are mostly depicted as hybrid figures, in which the body of a mythological or real being (a hippocampus, a sea snake, a dolphin), is joined to a head with a rather indistinct appearance. It was usually characterized by large upright ears, an elongated snout, sharp teeth and globular, protruding eyes; a complex and indefinite figure, both from the symbolic point of view and from that of its genesis. The work we are examining is placed as a cross between the medieval sea serpent and the Renaissance dolphin, with stylistic features which recall the snake as often used in heraldry (such as the "snake" depicted in the coat of arms of the Visconti - the lords and then dukes of Milan between 1277 and 1447 - and which, for some, may be derived from the representations of the “Pistrice” that swallowed Jonah). In the search for sources, Renaissance cartography and in particular woodcuts should not be neglected. See for example the monsters of Olaus Magnus, from the editions of the “Historia de gentibus septentrionalibus” (“History of the peoples of the north”) and the natural histories of Conrad Gesner, Ulisse...

Fully plastic representation of the Madonna in alabaster with finely carved detailing of the drapery of the robe and the hair. Partially damaged and traces of old restoration. Prove...

A small Thai cast seated bronze figure of the historical Buddha Shakyamuni, Northern Thailand, Ayutthaya period, 16th century. This sculpture captures the m...

French Victorian bronze figure of a 16th century man holding a quill and book with a guitar on base (signed).      

An outstanding French mid-16th century Body of Christ. Expertly carved from natural fruitwood. Stunning patina. The corpus has been attached to a base i...

A wonderful early 16th century hand carved stoned fragment of an angel. Beautifully crafted from Tuffeau stone from the Chambord area of France - now on its iron stand. A wonderful a...

A wonderful Gothic period hand carved stone statue of Saint Nicholas from the Avignon area of France. The now headless Saint Nicholas holds his staff an...

16th C. hand carved Capital stone base architectural element sculpture pedestal. Very rare 16th century Renaissance corner Capital. Hand carved limestone Chapiteau Capital from a Cloister in France. From an ornamental point of view, it is the coronation, the upper part of a post or a column or pilaster pillar. A beautiful Architectural element garden ornament. It can used as a Base for a coffee glass table or as a side table for drinks or to mount books. A stunning Fragments to be used as stand for a sculpture. Use it as a pedestal or as a mounted decorative object. In an entryway a bathroom a living room, in an office, it will create an incredible focal point. It can make a beautiful base for a floor lamp by a leather reading chair...

This sculpture represents Santa Ana (Saint Anne) with the infant Mary. Verge.    

16th century German hand carved painted wood St. Sebastian.

A Chinese Ming Dynasty period stucco head of a court lady from the 15th or 16th century, mounted on a wooden stand. Crafted in China during the Ming Dynasty, this stucco head is moun...

A very striking 16th century statue - head of a nobleman - crafted from Roman concrete - opus caementicium. Roman concrete is durable due to its incorporation of volcanic ash, which...

A Chinese Fahua glazed pottery figure of Songzi Guanyin with child. A rare yellow, turquoise and green glazed statue of Guanyin with downward gaze h...

A lovely northern Thai cast bronze seated meditating Buddha statue with shell inlaid eyes, style of Wat Chedi Luang, Lan Na Kingdom, region of Chiang Mai, 15th-16th century.  The statue of the historical Buddha, Shakyamuni, is portrayed in dhyanasana, seated upon a double lotus pedestal atop a raised platform. His legs in virasana, the half lotus position, hands in dhyana mudra, the gesture of meditation. The Buddha's face is youthful and pleasant, reminiscent of faces of contemporaneous Sukhothai Buddha...

1600-1700th century sculpture of female head carved in sandstone. Mounted on a base of light sandstone. From pagoda / temple in Burma. Charming expression with good patina. M...

This sculpture represents Santa Ana (Saint Anne) with the infant Mary. Verge

Crucifixion of Jesus is an original wood sculpture realized at the end of the XVI century. Rare sculpture in lacquered and painted wood (lacque...

Exceptional pair of aigles of the 16th century of Italy Superbe pair of wooden sculpted aigles from the Italian Renaissance. Very Fine and delicate sculpture The pair of eagles se...

The Amitabha (Amida in Japanese) Buddha is shown standing with his hands forming the Amida raigo-in mudra. The face has a serene expression, with closed eyes under delicately arched brows and a severe face. The hair is arranged in rows of coils that also cover the "ushnisha", the protuberance on the head. The drapery is folded in elegant pleats falling from the shoulders to the feet. The antique sculpture is placed on a lotus flower which is located on a richly decorated base. Faith in Amida Buddha remained largely confined to a small segment of the Japanese population until the Kamakura Era (1185-1333) when it was popularized by new Pure Land sects committed to bringing Buddhism to the illiterate commoner. These sects expressed concern for the salvation of the ordinary person and stressed pure and simple faith over complicated rites and doctrines. Amida Nyorai...

16th century Castilian gold-leaf gilded painted wood sculpture of Saint Roch, where the quality shows in the exceptional realistic skin tone. He is represen...

16-17th century bronze opium pipe heads excavated from the central highlands in Vietnam. The patina is exquisite. Sold as a collection. 1 - 5.5" x .75" x 3" (4.25" H on stand). 1...

An unusually large Chinese Ming Dynasty glazed pottery architectural model of a shrine or cabinet, Ming Dynasty (1368 - 1644), circa 16th century, China. The shrine model crafted o...

16th century French oak polychrome statue of Saint Maudez. A Breton saint from the 5th-6th century who founded a monastery off the coast of Brittany. Saint Maudez was said to have ba...

A rare and unusual Chinese Ming Dynasty bronze figure of the Buddha as an infant. The young Prince Siddhartha, who would grow up to become the Buddha, is portrayed standing, one hand pointing to the sky, the other to the ground. He is naked, save for a baby apron...

Hand Carved Santos in original condition. Beautiful old Patina.

Ananda is portrayed in a typical fashion, as a youthful monk with a shaved head and dressed in simple robes. He stands upon a double lotus pedestal with hands clasped in front of him...

A lovely carved sandstone torso of the Buddha, Ayutthaya period (1350-1767), Thailand. Wonderfully simplistic, the only ornamentation this torso displays...

Hand carved Santos in original condition. Beautiful old patina.

Fine, hand-carved, Carrara marble, robed figure from central Italy modeled in the Classical, contrapposto pose. The inscription fragment on the base reads "..under the auspices of...".

Wooden sculpture depicting Ecce Homo. Christ, whose figure is cut off at thigh level, is standing, arms crossed at waist level. Long ringlets frame a face with a pointed beard, a hal...

An English hand carved limestone lion statue possibly dating from as early as the 16th century. Made at the hand of a talented artisan, the limestone is detailed with tooling and chisel marks made by the maker throughout, depicting a small lion in a 'sejant' seated position. Though weathered throughout the ages, this 400-500 year old carving has stood the test of time, with details of the lion’s mane, paws and face recognisable to this very day. An antique artefact...

A fine and well cast 16th-17th century Tibetan gilt copper alloy statue of Shantideva, the great 8th century Indian teacher and scholar.  The gilt bronze figure expertly cast, with wonderful detail and rich gilding. The face cold painted gold with polychrome details. Shantideva sits upon a double lotus pedestal, a Vajra before him, an overflowing kapala skull cup...