16th Century Picture Frames

A very rare - finest quality - mid 16th century Italian Renaissance engraving (after Raphael) by an anonymous pupil of MARCANTONIO RAIMONDI (1480-...

hand carved and gild early 20th century Art Nouveau mirror, made in Spain. Original water gilt surface is in excellent condition. Outside dimensions 30 1/4" x 24" This item can be ...

Set of two 16th century oak panels, one representing a character accompanied by a dog, the other a character in flames, probably saints. These ...

Set of four 18th Century engravings by J Audran. These fabulously detailed copper plate engravings show Alexander The Great in various Battle scenes, one riding an elephant, spear in...

Finely carved and gilded 19th century Italian frame. Features continuous pierced carving decorative design. Carved out of a solid piece of fruitwood, the example is in excellent cond...

A nice early antique Hudson River School Design frame of quality construction and gilding. Large enough to make a nice wall mirror. the opening inside is 13.5" x 17.5

Hand-carved and silver gilded Italian 19th century frame with sgrafitto and cross-hatch design.

Large super early French Renaissance painted and gilt carved framed mirror. Very large architecturally framed painted and carved wall mirror with stylized gilt carved and black paint...

A beautifully preserved early 20th century Italian carved wood tabletop photo frame, crafted circa 1915–1925 and notable for its substantial, large-scale presence. This elegant piece...

Base of a carved wooden candelabrum, polychrome and gilded; cross painted on both sides. Umbria or Tuscany, 16th century 136 x 43,5 x 30 cm (The cross and the base of the candelabrum were later assembled) The base of the candelabrum is intricately carved and adorned with polychrome and gilded finishes. The shafts take on the shape of balusters reminiscent of ancient columns, feature ornate foliage decorations, garlands and winged cherub faces. The feet are crafted in the likeness of lion paws. The base is further embellished with depictions of four saint martyrs, among them Saint Barbara and Saint Catherine of Alexandria. The plasticity of the figures, outlined with strong contour lines, the clear and vibrant colors, are stylistic elements linked to the Umbrian tradition of the sixteenth century.The precisely defined and elegant drawing, along with the clear color palette applied with refined chiaroscuro modulations, became the signature of a style that would leave a lasting mark on the era to come. This is exemplified by a preference for vibrant, multicolored images, accentuated in this case by the use of red and pink in the saint's attire. A notable addition, introduced later, is a polylobed cross painted on both sides. On one side, the Crucifixion is vividly portrayed:The treatment of the corpus itself is in line with High Medieval practice, emphasizing pathos by showing Jesus dead, his arms sagging from the weight of the body. The upper section displaying a pelican pecks at her breast to feed her young with her own blood; a symbol of the sacrifice of Christ on the cross whose body and blood similarly nourishes the celebrant during Mass. The lower part depicts Golgotha. On the reverse side, the Resurrection is artistically presented in a Renaissance iconography, reminiscent of the renowned composition painted by Piero della Francesca, now housed in the Civic Museum of Sansepolcro. In terms of composition, with the frontal depiction of Christ holding the banner, this motif became particularly widespread in central Italy, spanning from Tuscany to Umbria throughout the 16th century.. The double-sided construction suggests that it may also have been carried in liturgical processions. In Umbria from the 14th century, the use of portable crosses painted on both sides had become a widespread practice, aimed at satisfying the monastic clientele that had significantly increased following the establishment of new religious communities. The earliest surviving Tuscan painted crucifix represent Christ as Christus Triumphans, or the “Triumphant Christ” with his head up and eyes open. This form was supplanted in the 13th century with the Christus Patiens, or “Suffering Christ” type who is shown often with his head fallen on his shoulder and his eyes closed, as In our cross. The iconography of the suffering Christ appears to have developed out of a new interest in Christ’s human nature, the development of the feast of Corpus Christi and with increased importance given to the Eucharist. The process of humanizing the figure of Christ reaches its peak with the abandonment of all the previous expressive conventions in favor of more realistic details we can observe in this Crucifix, such as the swollen belly, the arms stretched to the limit of muscle tearing, the body falling heavily forward, the abundant blood on the wounds, and the cross firmly embedded in the rock of Calvary. It's worth noting that Renaissance candelabra...

A set of three original copperplate engravings by the renowned Parisian 18th century Engraver Antione Aveline ( b 1718 - d 1762 ). The three engravings are numbered 62, 64 and 45 and were commissioned with the permission of the Louis XV the King of France at the time. All three engravings show views and perspectives of features in the gardens of Versailles...

Found in Italy, this gilt frame mirror dates from the 1890s. Wide gilt wood frame is rectangular with fancy corners and pointillist-style etched design all around the top surface. Un...