16th Century Sculptures

Beautiful weathered wooden panel with an wonderful primitive angel figure and garlands. Original paint and gilding. Spain, circa 1550-1650, weathered, small losses and old repairs M...

An antique Cotswold limestone corbel of a medieval English King, salvaged from the base of an archway in a period building in Oxfordshire. This fragment of stone is an impressive ha...

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

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 German hand carved painted wood St. Sebastian.

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. ...

A large 16th-century hand-carved wooden fragment depicting a kneeling angel in adoration, arms extended and wearing a gentle, serene expression. Likely of Northern European origin, t...

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...

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...

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...

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...

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...

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 ...

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

Elemento architettonico in marmo. Questo capitello potrebbe essere stato parte di una colonna o un altro elemento decorativo in un contesto architettonico. L'origine è toscana e il p...

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

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...

Saint Anthony with the Child Jesus. Wood. Mechelen School, 16th century. Sculpture in carved wood worked, as was usual in that center, on the front because it was designed to be pla...

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...

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...

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...

A pair of Chinese Ming Dynasty (1368-1644) sancai-glazed ridge tiles modelled as horse and rider. Both tiles are glazed in rich green and amber, the horses ...

Calzetta Da Ravenna (Attivo Tra IL 1496 E IL 1543 circa) Severo. Circle of. Candlestick depicting a kneeling satyr. The model of the present bronze is the ""kneeling satyr"" attributed to Severo Calzetta da Ravenna, one of the main Paduan bronze sculptors of the first half of the 16th century, whose figure was rediscovered by Planiscig in 1935 (L. Planiscig, ""Severo da Ravenna...

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

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 ...

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

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 petite Chinese Ming dynasty green glazed terracotta court official figurine from the 15th or 16th century, with original polychromy. Attracting our eye with its vibrant polychromy,...

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 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...

Oak sculpture of Saint Anne, 16th century. Large oak sculpture of Saint Anne. Work from the Upper Rhine, Basel region. First third of the 16th century. An arm is missing from the i...

Capitello corinzio a colonna piatta in marmo della prima metà del XVI secolo. Presenta il tipico ornamento con foglie di acanto, pianta naturalmente attratta dalla luce del sole e sp...

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

SAINT AFRE OF AUGSBURG ORIGIN : SOUTHERN GERMANY PERIOD : 16th CENTURY Height : 119 cm Width : 50 cm Depth : 28 cm Limewood Good state of conservation Patron Saint of the city and the diocese of Augsburg, the oldest traces of her worship date back to the 6th century. There are several versions of his legend. She is sometimes identified as the daughter of a king of Cyprus whose violent and unexpected death forced her and her mother, Hilaria, to flee. They went to Augsburg via Rome. Others see her origins in Africa instead, her name meaning African in Latin. Settled in Augsburg, they became the owners of a notorious inn where they traded in their charms. Bishop Narcissus of Girona, accompanied by his deacon Felix, found refuge there one day, fleeing the persecution of Emperor Diocletian. As the two men prayed devoutly, Afre was touched by grace and asked to be baptized. She then left her old life and embraced the Christian faith. When the Roman authorities learned of his new vocation, they exhorted her to worship the old gods and to deny the Christian faith. She refused to renounce her faith and was sentenced to be burned alive. Her sentence was applied immediately and she suffered her mart...

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

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...

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 decorative pair of 16th century carved oak corbels. Each intricately hand carved to showcase the head of a man with fine details of flowing locks and thick beards. Backed onto oa...

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...

Pair of 16th Century Italian carved polychromed angelic sculptures.

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

From the esteemed former collection of Baron Nathaniel de Rothschild, this exquisite early 16th-century polychromed carved wood figure of St. Florian stands as a rare example of late...

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...

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...

400 - 600 Year old charming and artistic sandstone relief. Dragon "mythical beast" which is a symbol of wisdom. From Buddha temple in Arakan, Burma....

Virgin of La Antigua with Child, polychrome wood carving with silver crown, 16th-17th century This ancient devotional sculpture depicts the Virgin of La Antigua with the Child. Carve...

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

Saint Barbara in carved wood, Renaissance structure (16th-17th century) with later polychromy Devotional wooden carving representing Saint Barbara, identifiable by the chalice with t...

Angel. Carved and polychrome wood. Century XVI. Polychrome wood carving showing an angel, with the face facing the viewer and the body in pr...

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...

16th century China Ming Dynasty hand painted porcelain plate on stand. Dragon motif.

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

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

Trinity in carved and polychromed wood, in the round, the back partially hollowed out. It is represented here as a "Throne of Grace". In this original formula, which probably origina...

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...

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...

Sleeping Eros Rome, 16th century
 Carrara marble, on a wooden base
 of an ancient collection 31 × 44 x 17 cm Carved from a fine block of Carrara marble, this sculpture depicts Eros ...

Pair of polychrome wood sculptures. "San Juan and San Pablo". Castilian school, 16th century. Both male figures have been represented standing, with their main iconographic attrib...

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...