Frame for a hand brazier. Bronze. Possibly Spanish School, 16th century.

Possibly Saint Hubertus or Saint Eustace. Carved, polychrome and gilded wood. Spanish school, 16th century. Carving in polychrome and gilded wood, sim...

Devotional plaque with Saint Jerome. Bronze. Spanish school, 16th century. Rectangular devotional plaque made of bronze, with a frame and a ring at the top and a figurative decorati...

The relief was probably a door of the Sagrario. The piece follows a customary decoration in the tabernacles of the Renaissance and the Baroque. Compare, for example, with the sevente...

Chest. Carved wood, metal. Spanish school, 16th century. Rectangular casket with a flat lid decorated on the outside with a series of figurative reliefs in a symmetrical arrangemen...

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

16th Century Spanish Moorish bronze mortar A small round bronze dark brown patinated shaped mortar, resting on a round base. The exterior decorated with vertical rib pattern from t...

Superb Flemish Renaissance bronze pot from the 16th century. Superb patina and in very good condition.

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...