16th Century Decorative Objects

In Medieval Europe and even more during the early 16th century fantastic beasts could be found in Bestiaries, a literary genre close to poetry. A bestiary used the characteristics of...

This Ming-dynasty (1368-1644) storage jar is attributed to the kilns of Yunnan province, loosely decorated with iron underglaze in a manner typical of the region. Dated to the 15th/1...

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 rare pair of carved sandstone Burmese temple guards. Originates from paragode in Burma c. 15-17th century. Handcarved with fine details. Each guard ...

Stunning and rare pair of 16th century Italian candle bearing Angel candlesticks depicting male and a female figures from the renaissance period. Each figure is meticulously carved f...

The eroded surface of this petite, Ming-dynasty medicine jar tells a story of trade, tradition and lost treasure. A matte texture and traces of marine life suggest the jar spent many...

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...

The carvings of this marble stemma cartouche dates to the 1500’s. Hand-carved in Tuscany, Italy, the marble was mounted onto a geometrically shaped iron stand within the last century...

An antique wooden chest from the 16th century, reinforced with wrought-iron hardware and decorative rivets; it retains its original lock and an attractive patina developed over time....

500-600 year old sculpture of 'Hanuman', the Hindu monkey god, carved in sandstone. From temple in Burma, 15-16th century or even older. In very good condit...

16th century, Bottega degli Embriachi, Venice or Florence Little Toilet Bone and wood, 14 x 12 cm Shellac on the base This box set is a classic example of the work of the renowne...

500-600 year old sandstone carving. The sculpture is depicting 'Two demons riding on elephants'. From Buddha pagoda / temple in Arakan, Burma, 1400-1500. Untouched and in original condition with great patina. Mounted on light sandstone plinth...

Hand-carved Italian Corpus Christi with traces of polychromy. This sculpture reflects the transition from Gothic to Renaissance style.

This large terracotta pignata pot with half glaze, hand-thrown in Cutrofiano-Lucugnano, Puglia, dates from the late 1800s to early 1900s and exemplifies the essence of "ceramica rust...

Very unusual Chinese export porcelain bowl. It has bright colors with a lot of gold throughout. Height: 5 in, Width: 10 in, Base Width: 5.25 in

Large and very nice Blue and White Charger/Dish from the Jiajin/Wanli Period. Additional information: Material: Porcelain & Pottery Region of Origin: China Emperor: Wanli (1572-1620...

Renaissance Fragment: The Grotesque Candelabrum
 Italy, 16th century
 Marble 29 x 21 x 12,5 cm This fragment of a white marble pilaster constitutes a remarkable testament to the orn...

A Pair of 16th Century Oak Saints: One being a male depicted wearing a long hooded cloak held together with a brooch over a flowing tunic tied at the ...

"This is a fragment of a sculpture depicting a winged lion, carved from Verona stone, probably dating from the 1500s." The lion, a symbol of strength and majesty, has a powerful appe...

SAINT CATHERINE OF ALEXANDRIA ORIGIN : SWABIA, ULM REGION PERIOD : ca. 1510-1520 Height : 118 cm Length : 39 cm Depth : 17 cm Limewood...

Renaissance polychrome and gilded wooden sculpture of Saint Anne, Spain, 16th century Imposing carved, polychrome, and gilded wooden sculpture, representing Saint Anne. Made in the ...

Set of 2 large early 16th century Tuscany vases, Italy. Rare and very large ceramic water vases with a green glaze. These vases were made in Tuscany Italy. Of course hand made and th...

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

A pair of Ming dynasty sancai blue glazed pottery figures. Circa 1500 AD Ming Dynasty I have owned over 250 ming tomb figures including over 80...

A deeply moving Spanish devotional sculpture depicting the Virgin of Sorrows (Dolorosa), carved in wood and conceived as an imagen de vestir (figure intended to be clothed), dating t...

16th Century Spanish gold gilded and polychromed Carved-wood sculpture of Our Lady of Mount Carmel. She depicts the Blessed Virgin Mary in her...

This Ming-dynasty (1368-1644) bowl is attributed to the kilns of Yunnan province, painted in dark cobalt underglaze with floral motifs and sweeping brushstrokes. Dated to the 15th/16...

This ceramic vessel from Thailand, circa early to mid 1500's, is an excellent specimen of a salvaged ceramic jar from a shipwreck during in the Ming gap p...

An Early Carved Head of the Virgin from an Altar or Sarcophagus The serene Virgin with beautifully sculpted downcast eyes and sensitive mouth Black-Stone Loire, France 15th / 16...

North Italian, 16th century Bust of the emperor Vitellius Bronze, on later bronze socle, lead support to reverse 18 cm. / 7 ins (the bust), 23 cm. / 9 ins overall This fine and apparently unique all’antica Renaissance bronze is inspired by a bust in Venice thought to depict the Roman emperor Vitellius (15-69 AD), who ruled for only eight months in 69 AD before he was overthrown by Vespasian. The Vitellio Grimani, also known as the pseudo-Vitellius, was discovered in Rome in 1505 during excavations on the Quirinale on land owned by the Venetian cardinal Domenico Grimani (1461-1523). On the death of Grimani the Vitellius was sent to Venice and bequeathed to the Republic of Venice, where it was displayed at the Palazzo Ducale from 1525 to 1593. It is now in the Museo arceologico nazionale di Venezia (inv. 20) and regarded as a portrait of an unknown Roman from the first half of the second century AD. The present small bust, with its rough, waxy surface and imaginative adaptation of the antique model on which it is based, bears all the hallmarks of Renaissance bronze modelling in the north of Italy. Indeed, the vigorous modelling is reminiscent of the works by Andrea Briosco, called Il Riccio (1470-1532), who worked in Padua in the Veneto and specialised in small bronzes based on antique subjects. See, for example, his head of Bacchus (private collection, offered at Sotheby’s London in 2021), which has a similarly waxy treatment of the hair. The fantastical lion-mask on the breastplate, with its stylised face and unusual braids of hair, is also typical of the imaginative re-working of antique motifs by Renaissance artists. This indicates that the present bust is probably by a follower of Riccio working in Padua or another centre of classicism in the Veneto. RELATED LITERATURE: L. Planiscig, 'Andrea Riccio...

The eroded surface of this petite, Ming-dynasty medicine jar tells a story of trade, tradition and lost treasure. A matte texture and traces of marine life suggest the jar spent many...

400 - 600 year old Burmese carved sandstone sculpture. Calf standing under the mother. From Buddha temple or Hindu temple in Burma. Untouche...

Ming Dynasty (16th century) pottery vase with vivid turquoise glaze, decorated with dragons. The vase is partially moulded, with circular bosses around the mouth rim and a hexagonal ...

The eroded surface of this petite, Ming-dynasty medicine jar tells a story of trade, tradition and lost treasure. A porous, matte surface texture suggests the jar spent many years su...

The eroded surface of this petite, Ming-dynasty medicine jar tells a story of trade, tradition and lost treasure. A porous, matte surface texture suggests the jar spent many years su...

The eroded surface of this petite, Ming-dynasty medicine jar tells a story of trade, tradition and lost treasure. A matte texture and traces of marine life suggest the jar spent many...

A 16th Century Giltwood and Polychromed Carved Group depicting God and Mary seated on a plinth.

This Ming-dynasty (1368-1644) storage jar is attributed to the kilns of Yunnan province, loosely decorated with iron underglaze in a manner typical of the region. Dated to the 15th/1...

The eroded surface of this petite, Ming-dynasty medicine jar tells a story of trade, tradition and lost treasure. A matte texture and traces of marine life suggest the jar spent many...

An exceptional and highly decorative pair of Renaissance cassetta frames, attributed to Siena, Tuscany, dating to the late 16th century. Each frame is constructed in carved wood and...

A fascinating bit of history, this pair of carved wooden terms dates to the High Renaissance during the 1500s. A term is a beam support in the form of a human head where the bust con...

Unique and precious sculpture in carved white marble, likely depicting Aeolus, the god of the wind. The sculpture originated as a fountain mask, as evidenced by the opening in the mo...

A very nicely decorated Ming period Swatow or Zhangzhou porcelain dish with Chilong These small dishes would have been used for the Japanese tea ceremony meal, the Kaiseki. Kaiseki...

This Ming-dynasty (1368-1644) storage jar is attributed to the kilns of Yunnan province, loosely decorated with cobalt underglaze in a manner typical of the region. Dated to the 15th...

This Ming-dynasty (1368-1644) storage jar is attributed to the kilns of Yunnan province, loosely decorated with cobalt underglaze in a manner typical of the region. Dated to the 15th...

This Ming-dynasty (1368-1644) storage jar is attributed to the kilns of Yunnan province, loosely decorated with cobalt underglaze in a manner typical of the region. Dated to the 15th...

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...

Pair of Renaissance Alabaster Columns Attributed to Cornelis Floris de Vriendt Flemish, Mid-16th Century 
Alabaster 
H: 27 cm; D: 10 cm This refined pair of all’antica alabaster col...

This fine and imposing sculpture is an excellent example of 16th century Italian craftsmanship. The figure is stood on a raised, shaped rectangular base with a carved "dolphin" at th...

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...

Throughout the sixteenth century, sculptors working in the German city of Nuremberg carved sculptural reliefs in various media. This polychrome example, which depicts Hercules’ battl...

Impressive wrought iron tabletop safe with engraved decoration and original patina. This type of safe was commonly used in the 16th and 17th centuries to hold valuables, alms, or doc...

Handkerchief Vase in the Fazzoltto technique with Zanfirico cane twisted lass to form a delicate net like pattern

Rare 16th century Nuremberg box In iron, measurements: 13 x 18 x 12 cm Good condition.

This early to mid 16th century ceramic vessel from Thailand is an excellent specimen of a salvaged ceramic jar from a shipwreck during in the Min...

Important bas-relief in carved wood with traces of gilt, in an architectural frame with two angels in the corners, representing Saint Rocco. Considered, among other things, the Patro...

Large European Mediaeval Oak Carving of Christ in the Tomb The sculpture is partially polychrome and depicts “The Pamoison de la Vierge” also known as the “Swooning Virgin” this sc...

A Korean ceramic bottle-form vase circa 16th century Joseon Dynasty. It was likely intended as a wine bottle, the pear-shaped vessel with flaring neck feature a celadon glaze exterio...

Madonna and child, Flanders, late 16th century This intimate representation of the Virgin and Child is carved in warmly toned boxwood. Mary, standing, carries the Child on her right...

Hostiary. Bronze. 16th century. A circular, tubular bronze box with a finial lid, to which a piece of tubing is attached, forming a press for the interior of the case. It features a...