16th Century Sculptures

Beautiful weathered oak winged angel head Renaissance ornament. France, 16/ 17th century. Weathered Measurements include the wooden pedestal.

A rare and very fine bronze corpus of Christ after a model by Michelangelo, cast ca. 1597-1600 by Juan Bautista Franconio and painted in 1600 by Francisco Pacheco in Seville, Spain. The present corpus reproduces a model attributed to Michelangelo. The best known example, lesser in quality, is one on display at the Metropolitan Museum of Art (MET). The association of this corpus with Michelangelo was first brought to light by Manuel Gomez-Moreno (1930-33) who studied the wider circulated casts identified throughout Spain. The attribution to Michelangelo was subsequently followed by John Goldsmith-Phillips (1937) of the MET and again by Michelangelo expert, Charles de Tolnay (1960). While Michelangelo is best known for his monumental works, there are four documented crucifixes he made. The best known example is the large-scale wooden crucifix for the Church of Santa Maria del Santo Spirito in Florence, made in 1492 as a gift for the Prior, Giovanni di Lap Bicchiellini, for allowing him to study the anatomy of corpses at the hospital there. In 1562, Michelangelo wrote two letters to his nephew, Lionardo, indicating his intention to carve a wooden crucifix for him. In 1563 a letter between Lionardo and the Italian sculptor Tiberio Calcagni, mentions this same crucifix (a sketch of a corpus on the verso of a sheet depicting Michelangelo’s designs for St. Peter’s Basillica [Palais des Beaux-Arts in Lille] may reproduce this). That Michelangelo was working on small corpora in the last years of his life is further evidenced by the small (26.5 cm) unfinished wooden crucifix located at the Casa Buonarroti, considered his last known sculptural undertaking. Michelangelo’s contemporary biographer, Giorgio Vasari additionally cites that Michelangelo, in his later years, made a small crucifix for his friend, Menighella, as a gift. Surviving sketches also indicate Michelangelo’s study of this subject throughout his career, most notably during the end of his life but also during the 1530s-40s as he deepened his spiritual roots. The occasional cameo of crucified Christ’s throughout his sketched oeuvre have made it challenging for scholars to link such sketches to any documented commissions of importance. All the while, in consideration that such objects were made as gifts, it is unlikely they should be linked with commissions. Nonetheless, a number of theories concerning Michelangelo’s sketches of Christ crucified have been proposed and some may regard the origin of the present sculpture. It has been suggested that the corpus could have its impetus with Michelangelo’s work on the Medici Chapel, whose exclusive design was given to the master. It is sensible smaller details, like an altar cross, could have fallen under his responsibility (see for example British Museum, Inv. 1859,0625.552). Others have noted the possibility of an unrealized large marble Crucifixion group which never came to fruition but whose marble blocks had been measured according to a sheet at the Casa Buonarroti. A unique suggestion is that Michelangelo could have made the crucifix for Vittoria Colonna, of whom he was exceedingly fond and with whom he exchanged gifts along with mutual spiritual proclivities. In particular, Vittoria had an interest in the life of St. Bridget, whose vision of Christ closely resembles our sculpture, most notably with Christ’s proper-left leg and foot crossed over his right, an iconography that is incredibly scarce for crucifixes. The suggestion could add sense to Benedetto Varchi’s comment that Michelangelo made a sculpted “nude Christ…he gave to the most divine Marchesa of Pescara (Vittoria Colonna).” Of that same period, two sketches can be visually linked to our sculpture. Tolnay relates it to a sketch of a Crucified Christ at the Teylers Museum (Inv. A034) of which Paul Joannides comments on its quality as suggestive of preparations for a sculptural work. Joannides also calls attention to a related drawing attributed to Raffaello da Montelupo copying what is believed to be a lost sketch by Michelangelo. Its relationship with our sculpture is apparent. Montelupo, a pupil of Michelangelo’s, returned to Rome to serve him in 1541, assisting with the continued work on the tomb of Pope Julius II, suggesting again an origin for the corpus ca. 1540. The earliest firm date that can be given to the present corpus is 1574 where it appears as a rather crudely conceived Crucifixion panel, flanked by two mourners in low-relief and integrally cast for use as the bronze tabernacle door to a ciborium now located at the Church of San Lorenzo in Padula. Etched in wax residue on the back of the door is the date, 27 January 1574, indicating the corpus would have at least been available as a model by late 1573. The Padula tabernacle was completed by Michelangelo’s assistant, Jacopo del Duca and likely has its origins with Michelangelo’s uncompleted tabernacle for the Basilica of St. Mary of the Angels in Rome. The impetus for the Padula tabernacle’s Crucifixion panel begins with a series of late Crucifixion sketches by Michelangelo, depicting a scene of Christ crucified and flanked by two mourners (see British Museum Inv. 1895.0915.510; Ashmolean Museum Inv. 1846.89, KP II 343 recto; Windsor Castle RCIN 912761 recto; and Louvre Inv. 700). A faintly traced block possibly intended for sculpting the sketch of the crucified Christ on its recto was discovered by Tolnay on a version of the composition at Windsor Castle. The Windsor sketch and those related to it appear to have served as preparatory designs for what was probably intended to become the Basilica of St. Mary’s tabernacle door. Vasari documents that the project was to be designed by Michelangelo and cast by his assistant, Jacopo del Duca. Michelangelo died before the commission was complete, though on 15 March 1565, Jacopo writes to Michelangelo’s nephew stating, “I have started making the bronze tabernacle, depending on the model of his that was in Rome, already almost half complete.” Various circumstances interrupted the completion of the tabernacle, though its concept is later revitalized by Jacopo during preparations to sell a tabernacle, after Michelangelo’s designs, to Spain for Madrid’s El Escorial almost a decade later. The El Escorial tabernacle likewise encountered problems and was aborted but Jacopo successfully sold it shortly thereafter to the Carthusians of Padula. An etched date, 30 May 1572, along the base of the Padula tabernacle indicates its framework was already cast by then. A 1573 summary of the tabernacle also describes the original format for the door and relief panels, intended to be square in dimension. However, a last minute decision to heighten them was abruptly made during Jacopo’s negotiations to sell the tabernacle to King Phillip II of Spain. Shortly thereafter the commission was aborted. Philippe Malgouyres notes that the Padula tabernacle’s final state is a mixed product of the original design intended for Spain’s El Escorial, recycling various parts that had already been cast and adding new quickly finished elements for its sale to Padula, explaining its unusually discordant quality, particularly as concerns the crudeness of the door and relief panels which were clearly made later (by January 1574). Apart from his own admission in letters to Spain, it is apparent, however, that Jacopo relied upon his deceased master’s designs while hastily realizing the Padula panels. If Michelangelo had already earlier conceived a crucifix model, and Jacopo had access to that model, its logical he could have hastily employed it for incorporation on the door panel to the tabernacle. It is worth noting some modifications he made to the model, extending Christ’s arms further up in order to fit them into the scale of the panel and further lowering his chin to his chest in order to instill physiognomic congruence. A crude panel of the Deposition also follows after Michelangelo’s late sketches and is likewise known by examples thought to be modifications by Jacopo based upon Michelangelo’s initial sculptural conception (see Malgouyres: La Deposition du Christ de Jacopo del Duca, chef-d’oeuvre posthume de Michel-Ange). Jacopo’s appropriation of an original model by Michelangelo for more than one relief on the Padula tabernacle adds further indication that the crucifix was not an object unique to Jacopo’s hand, as few scholars have posited, but rather belongs to Michelangelo’s original...

16th century Italian carved and polychromed figure of a male saint or prophet with a wonderful presence. Shown holding an open book in his right hand with flames at his feet, mid-16t...

Beautiful weathered oak panel with an wonderful primitive angel figure. On the bottom of this angel you can also see two small eagle heads. France, circa 1550-1650, weathered, small...

A 445-year-old late medieval 16th century heraldic encaustic tile of Flemish origin (unmarked). Made from terracotta and glazed, this 6-inch antique tile is an excellent collector’s ...

French Bronze Sculpture of Youth Wrangling a Horse by Guillaume Coustou (1677-1746). Best known for his monumental statues of horses, Coustou was the royal sculptor for Louis XIV an...

Mary Magdalene in Polychromed Carved Walnut 16th Century Devotional figure in carved wood, depicting Mary Magdalene. Walnut, most probably Flemish and from the 16th century. It de...

Exceptional polychrome wood low-relief depicting a werewolf and saint george after a woodcut by lucas cranach (“DER WERWOLF” 1512) Provenance : collection Brimo de Laroussihle colle...

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

Paolo di Giovanni Sogliani (Florence 1455-1522) Processional Cross Florence, around 1515 Enameled, chiseled, engraved, stippled, and gilded copper; wooden core ; Inscription: "OPA...

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...

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...

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

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...

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

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

Most likely Ming 15th/16th Century, carved chicken bone jade figure of a standing Guanyin (Quanyin) holding a scroll in one hand, prayer beads in the other. Affixed to carved wood ba...

Carved wood depicting the resurrection of Christ ORIGIN : SOUTHERN NETHERLANDS, ANTWERP PERIOD : EARLY 16th CENTURY Height : 67.5 cm Len...

A wonderful 16th century draped female torso in classical style. Made in France under Italian Renaissance influence this female torso is finely sculpted with great detail to the stol...

A Pair of Chinese Enameled Sancai Glazed Pottery Attendant Figures Representing Dignitaries. Ming Dynasty Period. Circa 1600AD Dimensions; 23 x 5.5 x 5.25 inches (58.4 x 13.7 x 13.3 ...

Carved wooden sculpture of Mary Magdalene, circa 1500. Large limewood sculpture with traces of polychromy representing Mary Magdalene, German work, circa 1500. H: 80cm. W: 35cm, D: ...

A striking Japanese late Muromachi Period (1333-1573) lacquered and giltwood figure of Yakushi Nyorai, the Medicine Buddha, seated upon an elaborate car...

Christ crucified in silver 16th Century Italian school Measure: height: 40cm. very good condition.

This rare and extraordinary 16th-century French sculpture depicts the iconic Pietà, showcasing exceptional craftsmanship and emotional depth. Finely carved from wood and adorned with...

Asian Chinese (Ming Dynasty-Circa 1500) blue & green porcelain Shou Lau seated figure with oversize head (symbolism of longevity & luck) on a base suppo...

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...

An exceptionally rare antique German Renaissance carving by Stephan Rottaler (1581-1533), Bavaria circa 1500. The carving is by Stephan Rottaler, Landshut, Germany, an architect who ...

Easily recognizable with his gesture of showing pest effect on his thigh this pilgrim saint is accompanied by an angel curing him. The quality of the wood is noteworthy. Bibliography Louis Réau, Iconographie de l’Art Chrétien...

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 Unusual and Rare English ‘Memento Mori’ Carved Shrine with Two Human Skulls to the underside, a carved ‘Dragonfly’ Marble 16th / 17th Century England Size: 36cm high, 28cm w...

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...

The bronze statue depicts a Turkish warrior with shield and sword. the warrior is shown bare without veils, with a base also made of oval-shaped bronze, acting in a war scene. Detai...

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...

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...

400-600 year old sandstone figure of a "Demon" carved in deep relief. In good original condition with a natural age-related patina that emphasizes the figure's age and authenticity. ...

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...

Fra Mattia Della Robbia (Firenze 1468-1534) Saint Joseph Terracotta Tuscany, around 1505-1510 55 x 40 x 30 cm Marco della Robbia the Younger (April 6, 1468 in Florence - 15...

Religious sculpture representing the nativity, carved wood from the 16th century. Carved wood sculpture, walnut wood and oak wood base, sculpture representing the nativity, circa 16...

This hand carved Chinese wooden horse is a type of centuries-old burial figurine known as míngqì. Depicting the pleasures of daily life, míngqì f...

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

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...

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...

This majestic sculpture of the Virgin Mary, created in the 16 th century, is a unique piece of sacred art that stands out for its impressive detail and the beauty of its form. Crafte...

A pair of 16th Century Italian wood carved figures of Saint Ambrose Archbishop of Milan and Saint Augustine Bishop of Hippo, two of the four original Doc...

Noah and King David, Flanders, early 16th century Rare wood carvings in the round of Noah holding the Ark and King David holding his lyre. Noah, a biblical figure, is the tenth and l...

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...

Griffin head Italy, 16th century On a modern metal stand Measures: 20 x 29 x 21 cm (without the stand) The griffin is a legendary creature with the body of a lion, the head an...

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...

A small and charming fragmentary cast bronze Buddha head with traces of gilding and lacquer, Lan Na Kingdom, Chiang Saen style, 16th century, Thailand. ...

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...

Mechelen dolls are rare wooden devotional figurines (mainly walnut was used), which were made by some members of the Guild of Saint Luke. The figures, all individual saints, were made from reference models using highly regulated carving and polychrome techniques. They had to meet several requirements. The shape of the rug had to meet certain criteria and the letter M (from Mechelen) had to be visible in the shape. These devotional or saint figurines...

A 445-year-old late medieval 16th century encaustic tile of Flemish origin (unmarked), detailed with a rampant lion. Made from terracotta and glazed, this 6-inch antique tile is an e...

Large high relief in carved and gilt wood, with many traces of polychromy, representing the Adoration of the Shepherds. The evangelist Luke first mentions that the scene takes place at night. A sudden light, which frightens the shepherds, signals the arrival of an angel who announces "great joy". He gives them a sign: they will find "a newborn baby wrapped...

A deep and well carved panel English oak with many figures in deep relief and a good colour Circa 1520 33cms wide x 21cms high

Magnificent and Monumental 16th Century Renaissance Carved Oak Bust of Christ, Flemish Netherlandish, C. 1550 A powerful and deeply expressive Renaissance carved oak bust of Jesus C...

Formerly known as the "Master of Magione", Nero Alberti da Sansepolcro established a workshop around Perugia in the mid 16th century specializing in the production of devotional imag...

16th Century Italian carved-wood and polychromed sculpture of Jesus Christ the conqueror raising the flag after his resurrection.

A Very Large Virgin and Child in walnut wood, carved in the round, trampling on Eve biting into the apple. The theme of the Virgin and Child is the most represented in all Christian...

Spanish school of the sixteenth century. "Saint Paul". Carved and polychrome wood. Devotional image of a round piece carved in wood, polychrome and gilded, representing the Apostle ...

Rare 16th-Century Spanish Polychrome Alabaster Sculpture of the Virgin Mary Description: This exquisite and rare 16th-century Spanish sculpture of the Virgin Mary is a masterful example of Renaissance religious art. Finely carved in alabaster, the figure retains traces of its original polychrome finish, reflecting the craftsmanship and devotional spirit of the era. The Virgin Mary is depicted with grace and serenity, her delicate features and flowing robes showcasing the artistry of the period. The sculpture’s natural patina and signs of age enhance its authenticity, making it a significant piece for collectors of sacred or historical art. Dimensions: Height: 44 cm Width: 17 cm Depth: 15 cm Key Features: 16th-Century Craftsmanship: A finely detailed alabaster carving with remnants of polychrome, representing the Virgin Mary. Spanish Renaissance Origin: A testament to the religious and artistic traditions of 16th-century Spain. Authentic Patina: Centuries of natural wear add historical depth and character to the piece. Devotional and Artistic Appeal: Perfect for private collections, sacred spaces, or as a centerpiece in any setting. Good Condition: Well-preserved for its age, maintaining its structural integrity and artistic impact. This rare alabaster sculpture offers a glimpse into the religious devotion and artistic achievements of the Spanish Renaissance. Its historical significance and timeless beauty make it an exceptional addition to any collection. Why Choose This Sculpture? A genuine 16th-century artifact of exceptional craftsmanship. A piece that embodies the spiritual and artistic legacy of Renaissance Spain. Adds profound historical and devotional value to any collection or space. Bring home this extraordinary polychrome alabaster Virgin Mary...