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16th Century Sculptures

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Period: 16th Century
C1600 wood carving of a cardinal
Located in Bakewell, GB
C1600 wood carving of a cardinal with good original polychrome decoration
Category

Antique 16th Century Sculptures

Materials

Wood

Early 16th Century English oak panel with applied carved head of a Tudor lady
Located in Bakewell, GB
Early 16c English oak panel with applied carved head of a Tudor lady size 38 cms x 29cms deep and 3cms deep
Category

English Antique 16th Century Sculptures

Materials

Oak

Pair of holding angels, marble, late 16th century, Lombardy
Located in Milan, IT
Lombardy, late 16th century Pair of holding angels (2) Marble, 40 x 29 x 15 cm At the turn of the 15th and 16th centuries in the Lombardy area, and especially in the Parma area, t...
Category

Antique 16th Century Sculptures

Materials

Marble

16th Century Madonna and child wood carving
Located in Bakewell, GB
16th Century Madonna and child wood carving, retaining some original polychrome decoration sizes 67 cms high, 30cms wide and 25 cms deep
Category

Antique 16th Century Sculptures

Materials

Wood

Chinese Ming Dynasty Iron Standing Guanyin Sculpture
Located in Dallas, TX
This Ming Dynasty iron-standing Guanyin sculpture from China in the 16th century is a masterpiece of cast iron with a rustic patina wear and a faded washed gold leaf finish. Perfect ...
Category

Asian Antique 16th Century Sculptures

Materials

Iron, Gold Leaf

Friar (St. Anthony), polychrome and gilded wood sculpture, 16th century
Located in Brescia, IT
Friar (St. Anthony), polychrome and gilded wood sculpture, 16th century St. Anthony standing, caught in the act of preaching. Talar dress consisting of a tunic decorated in gold,...
Category

Italian Renaissance Antique 16th Century Sculptures

Materials

Wood

16th century polychrome wood sculpture
Located in Firenze, IT
Important 16th-century polychrome and gilded wood carving depicting Saint, Italy. The work features exceptional gilding on the dress and hair. Extremely important is the size of th...
Category

Italian Antique 16th Century Sculptures

Materials

Wood

Two Sculpted Wooden Angels , Flanders, Early 16th century.
Located in PARIS, FR
Two polychrome and gilt wood angels, sculpted in a high relief, representing a gesture of offering. No doubt they were part of a larger group, perhaps an altarpiece? The polychromy...
Category

French Renaissance Antique 16th Century Sculptures

Materials

Giltwood

Large Virgin and Child, Tyrol, 16th century
Located in PARIS, FR
Large wooden Madonna and Child, painted and carved in hollow at the back. The theme of the Virgin and Child is the most represented in all Christian art, whereas the infancy of Jesus...
Category

German Renaissance Antique 16th Century Sculptures

Materials

Wood, Pine

Christ Crucified in boxwood and golden loincloth
Located in Salò, IT
Christ Crucified in boxwood and gilded loincloth, 16th-century German sculptor, height from head to foot 31 cm, width between hands 30 cm. Christ also has golden highlights on the pr...
Category

German Antique 16th Century Sculptures

Materials

Boxwood

16th Century Ming Dynasty Ceramic Submerged Cup on Stand, China
Located in New York, NY
16thc China ceramic cup discovered from ship wreck on stand. From the Ming dynasty. Beautiful natural weathered patina. Stand measure 5" x 3.5"
Category

Chinese Antique 16th Century Sculptures

Materials

Ceramic

16th Century Ming Dynasty Set of Three Cups on Stands, China
Located in New York, NY
16th century Chinese Ming Dynasty set of three ceramic cups discovered from a ship wreck. Beautiful natural weathered patina. Cups measure 5" diameter 2 @ 12" tall 1 @ 8" t...
Category

Chinese Antique 16th Century Sculptures

Materials

Ceramic

Ecce Homo. Sculptor active in Lombardy, mid-16th century
Located in Milano, IT
Wooden sculpture depicting Ecce Homo. Christ, whose figure is cut off at thigh level, is standing, arms crossed at waist level. Long ringlets frame a face with a pointed beard, a hal...
Category

Italian Other Antique 16th Century Sculptures

Materials

Wood

The flagellation - Brabant, circa 1560
Located in Bruxelles, BE
Altarpiece group representing the flagellation Brabant, circa 1560-1580 Carved wood, polychrome, and gilded 50 x 38 x 7 cm At the center of the group, Christ stands upright, leaning...
Category

Belgian Renaissance Antique 16th Century Sculptures

Materials

Wood

Group of Altarpiece - Antwerpen, 16th century
Located in Bruxelles, BE
Group of altarpiece representing the life of a Saint, Saint Renualde? Engraved by the sign of Antwerp hand on the hat of the central character Carved oak, traces of polychromy Fir...
Category

Belgian Renaissance Antique 16th Century Sculptures

Materials

Oak

renaissance wooden candelabrum and painted cross - Umbria, 16th century
Located in Bruxelles, BE
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...
Category

Italian Renaissance Antique 16th Century Sculptures

Materials

Wood, Giltwood

16th-17th Century French Carved Oak Panel with an Angel Figure
Located in Buisson, FR
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...
Category

French Renaissance Antique 16th Century Sculptures

Materials

Oak

Excellent walnut carving of a Carlo Boccomico c1600
Located in Bakewell, GB
Excellent walnut carving of a Carlo Boccomico c1600 Visible old dead worm holes, but great condition 72 cms high 30 cms wide
Category

European Antique 16th Century Sculptures

Materials

Walnut

Trinity , Polychrome Sculpture , Germany, circa 1550
Located in PARIS, FR
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...
Category

Antique 16th Century Sculptures

Materials

Wood

A deep and well carved panel English oak 16th century
Located in Bakewell, GB
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
Category

English Antique 16th Century Sculptures

Materials

Oak

A 16th century carved marble sculpture of poseidon
Located in London, GB
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...
Category

Italian Renaissance Antique 16th Century Sculptures

Materials

Marble

Lion of Forge, Spain, 16th Century
Located in Madrid, ES
Lion of Forge, Spain, 16th century In forging, measurements: 10 x 17 x 5 cm Good condition Spanish private collection.
Category

Spanish Baroque Antique 16th Century Sculptures

Materials

Iron

Madonna of Milk, polychrome stucco relief, Florence, 16th century
Located in Brescia, IT
Our Lady of Milk polychrome stucco relief scope of Benedetto da Maiano Florence, 16th century cm 66 x 18 x 43 From the 15th century onward, the pleasure of modeling terracotta...
Category

Italian Renaissance Antique 16th Century Sculptures

Materials

Gesso, Straw

Large Tibetan Carved Wood Phurba 15th-16th Century
Located in Dallas, TX
A large carved wooden purbha sculpture Tibet 15th - 16th Century With the triangular blade issuing from the mouth of a makara, the grip with stylized endless knot, the finial with t...
Category

Tibetan Tibetan Antique 16th Century Sculptures

Materials

Wood

Misericord. Carved wood. 16th century.
Located in Madrid, ES
Choir Mercy. Carved wood. Century XVI. Carved wooden Misericordia that surely belonged to a choir stall (see the upper flat part, which acts as a seat), decorated with a figurative ...
Category

European Renaissance Antique 16th Century Sculptures

Materials

Other

Winged angel head. Polychrome wood. Spanish school, 16th century.
Located in Madrid, ES
Winged angel head. Polychrome wood. Spanish school, 16th century. Carved and gilded wooden sculpture that shows a child's head with blonde, curly hair adorned with two wings. This ty...
Category

European Renaissance Antique 16th Century Sculptures

Materials

Other

16th Century Stone Carved French Virgin Sculpture
Located in BARCELONA, ES
Explore the timeless beauty of our intricately crafted sculpture featuring Mary adorned in a graceful mantle that elegantly envelops her form. This exquisite Virgin sculpture is meti...
Category

French Antique 16th Century Sculptures

Materials

Stone

Early 16th century bust of Saint Barbara, School of Troyes, Champagne
Located in PARIS, FR
Bust of Saint Barbara School of Troyes, Champagne Circa 1520-1530 Partially polychrome limestone h. 13 in., w. 12.6 in., d. 9.84 in. This remarkable stone sculpture belongs to the traditional Champagne repertoire from the first third of the 16th century. Saint Barbara is one of the most venerated saints in Champagne during the Renaissance. The very small corpus of saints sculpted in the region during the Renaissance only includes Saints Marguerite or Savine, or anonymous saints, and is mainly dominated by numerous Saints Beards. In the guise of a sweet and kind young girl, the Saint has an oval face with a high domed forehead, almond-shaped eyes with modestly lowered eyelids. The long, wavy middle-parted locks of hair flow down either side of her shoulders. A beaded crown sits atop her slightly inclined head. She is dressed in a dress with a square neckline and an open coat covering the shoulders. The tower, symbol of suffering, which serves as an attribute of the young martyr, is in the form of a dovecote tower in cut stone with a conical roof covered with flat tiles, pierced by a dormer window and equipped with a large arched door . As an essential attribute, the integrity of the tower displaying the door at its base indicates that our sculpture, although executed as a bust, could in no way constitute a fragment of a larger statue. The work of a talented anonymous sculptor from the Troyes region, our Saint Barbara with a delicate face and meditative expression reveals all her inner grace and arouses emotion and offer a feeling of benevolence. The essential effects that the artists sought to transmit through their artistic creations, but above all spiritual. Saint Barbara There is no certain historical data on Barbara who probably died a martyr at the beginning of the 4th century. However, its story is located in Turkey during the persecutions of Maximilian. The figure of the saint became legendary following the compilation of the acts of her life in the 7th century and the subsequent publication of “The Golden Legend...
Category

French Gothic Antique 16th Century Sculptures

Materials

Limestone

17th Century Wooden Sculpture Depicting Saint James
Located in Firenze, IT
Wooden sculpture depicting Saint James the Greater. Saint James was an apostle of Jesus and witnessed with Peter the Transfiguration, the resurrection of Jairus' daughter and the ni...
Category

Italian Antique 16th Century Sculptures

Materials

Wood

16th Century Bust of Roman Emperor Julius Caesar
Located in Ramillies, BE
16th Century Bust of Roman Emperor Julius Caesar in bronze with brown patina.
Category

Italian Antique 16th Century Sculptures

Materials

Bronze

Important Sculpture Of The Apostle Saint John Of Veneto In Italy
Located in Madrid, ES
This important sculpture of the apostle Saint John, originating from Veneto, Italy, portrays one of Jesus' closest and most beloved disciples. Saint John, also known as "The Beloved"...
Category

Antique 16th Century Sculptures

Materials

Wood

Virgin in limestone with remains of old colours, prob. Burgundy, 16th century
Located in Walkertshofen, BY
The very expressive Virgin, in a strictly upright posture, carries the child Jesus on her (damaged) left arm. In her right hand, she holds the shaft of a scepter. She looks at the ob...
Category

French Renaissance Antique 16th Century Sculptures

Materials

Limestone

Taoist bronze figure China, Ming dynasty, 16th century
Located in Milano, IT
In the heart of ancient China, within the resplendent Ming dynasty, a masterpiece was cast in bronze, a testament to a culture steeped in mysticism and spirituality. This Taoist bron...
Category

Chinese Ming Antique 16th Century Sculptures

Materials

Bronze

Ming Period Fahua Pottery Chinese Table Screen Scholar Eight immortals Shoulou
Located in Amsterdam, Noord Holland
A chinese porcelain table screen from the Ming period, 16/17th century. Decorated in High Relief With Shoulou on his crane and the Eight Immorta...
Category

Chinese Antique 16th Century Sculptures

Materials

Porcelain

16th Century Carved Red Sandstone Roundel
Located in Wormelow, Herefordshire
An English medieval style carved red sandstone roundel possibly dating from as early as the 16th century. Likely once used as decoration for an exterior capital, this 400 – 500 year ...
Category

Medieval Antique 16th Century Sculptures

Materials

Sandstone

Chinese Jade Figure of Guanyin
Located in Bradenton, FL
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...
Category

Chinese Ming Antique 16th Century Sculptures

Materials

Organic Material

French Bronze Sculpture of Youth Wrangling a Horse by Guillaume Coustou
Located in Middleburg, VA
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...
Category

French Louis XIV Antique 16th Century Sculptures

Materials

Bronze

Jean Bologne Hermes italian bronze
By Jean de Bologne
Located in Rio De Janeiro, RJ
Incredible sculpture representing Hermes in Italian Bronze after Jean Bologne with marble base.
Category

Italian International Style Antique 16th Century Sculptures

Materials

Bronze

Rare and important painted bronze Crucifix after a model by Michelangelo
By Michelangelo Buonarroti
Located in Leesburg, VA
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...
Category

Renaissance Antique 16th Century Sculptures

Materials

Bronze

Important Sculpture Representing Saint Barbara
Located in Saint-Ouen, FR
IMPORTANT WOOD SCULPTURE REPRESENTING SAINT BARBARA ORIGIN : NORTHERN FRANCE OR FLANDERS PERIOD : 16th CENTURY Height: 103 cm Length: 40 cm Depth: 30 cm Oak wood Good condition Saint Barbara was the daughter of Dioscorus who imprisonned her in a tower to prevent her from being corrupted by Christianity. Despite this, she was taught and baptisted by a local priest. According to legend, she proved her faith by carving a third window into the tower, symbolic of the Trinity. Once her father learned this, he threatened her with his sword. She managed to escape and hide, not before being revealed by a sheperd. She was thrown in jail and tortured, refusing to denounce her faith. Her father forced her up to the mountain’s summit and decapitated her, afterwhich God struck him down by lightning. Saint Barbara`s following was popularized in the Occident in the 13th century because of the Golden Legend...
Category

Antique 16th Century Sculptures

Materials

Oak

Important Polychrome Low-Relief Depicting Christ in the Mount of Olives
Located in Saint-Ouen, FR
IMPORTANT POLYCHROME LOW-RELIEF DEPICTING CHRIST IN THE MOUNT OF OLIVES ORIGIN: SOUTH GERMANY or ALSACE PERIOD: ca. 1500-1510 Height : 78 cm Length : 57 cm Depth : 8 cm Limewood ...
Category

Antique 16th Century Sculptures

Materials

Wood

Saint Catherine of Alexandria
Located in Saint-Ouen, FR
SAINT CATHERINE OF ALEXANDRIA ORIGIN : SWABIA, ULM REGION PERIOD : ca. 1510-1520 Height : 118 cm Length : 39 cm Depth : 17 cm Limewood...
Category

Antique 16th Century Sculptures

Materials

Wood

16th Century English Carved Limestone Lion Statue
Located in Wormelow, Herefordshire
An English hand carved limestone lion statue possibly dating from as early as the 16th century. Made at the hand of a talented artisan, the limestone is detailed with tooling and chisel marks made by the maker throughout, depicting a small lion in a 'sejant' seated position. Though weathered throughout the ages, this 400-500 year old carving has stood the test of time, with details of the lion’s mane, paws and face recognisable to this very day. An antique artefact...
Category

English Medieval Antique 16th Century Sculptures

Materials

Stone, Limestone

Saint John of Calvary
Located in Saint-Ouen, FR
SAINT JOHN OF CALVARY ORIGIN : SOUTH GERMANY PERIOD : 16th CENTURY Height: 104 cm Width: 42 cm Depth: 29 cm This Saint John belonged to a Crucifixion group depicting three figur...
Category

Antique 16th Century Sculptures

Materials

Wood

16th century Italian carved wooden polychromed statue of Saint Francis
Located in TEYJAT, FR
A wonderful original piece of the Renaissance Period - a carved wooden polychromed figure / statue of Saint Francis. This piece was found in France but most probably originated in 1...
Category

Italian Renaissance Antique 16th Century Sculptures

Materials

Petrified Wood

Wooden Made Crucifixion of Jesus, Italian Manufacture, Late XVI Century
Located in Roma, IT
Crucifixion of Jesus is an original wood sculpture realized at the end of the XVI century. Rare sculpture in lacquered and painted wood (lacque...
Category

Italian Antique 16th Century Sculptures

Materials

Wood

16th Century Stone Classical Roman Style Torso
Located in Vosselaar, BE
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...
Category

French Renaissance Antique 16th Century Sculptures

Materials

Sandstone

Pair of 16th Century Carved Oak Saints
Located in Maidstone, GB
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 ...
Category

European Gothic Antique 16th Century Sculptures

Materials

Oak

16th Century Giltwood and Polychrome Group Carving – 'God and Mary'
Located in Maidstone, GB
A 16th Century Giltwood and Polychromed Carved Group depicting God and Mary seated on a plinth.
Category

European Gothic Antique 16th Century Sculptures

Materials

Giltwood

Early 16th Century Stone Carving - 'The Death of a Prelate'
Located in Maidstone, GB
An Early 16th Century Stone Carving with polychrome : 'The Death of a Prelate'. The enthroned figure of a Bishop surrounded by attendants and surmounted by celestial angels.
Category

European Gothic Antique 16th Century Sculptures

Materials

Stone

Agnolo di Polo Firenze 1470 - Arezzo 1528' - Saint Nicholas of Tolentino
Located in Bruxelles, BE
Agnolo di Polo (Firenze 1470 - Arezzo 1528) Saint Nicholas of Tolentino Around 1510-1520 Painted and gilded terracotta 55.5 x 24 x 16.5 cm San Nicholas de Tolentino is represe...
Category

Italian Renaissance Antique 16th Century Sculptures

Materials

Terracotta

19th Century Sevres Style Bisque Porcelain Figural Pastoral Group
Located in Tarry Town, NY
French Sevres style white glazed bisque porcelain decorative pastoral figural group in the manner of Michel Victor Acier ( French, 1736-1799 ) depicting a shepherd and shepherdess tying a ribbon around a lamb's neck on a field of roses. The pastoral sculpture...
Category

French Antique 16th Century Sculptures

Materials

Porcelain

Late Renaissance/Early Baroque Genovese Italian Cherubs
Located in Victoria, BC
This extraordinary pair of Late Renaissance/Early Baroque Genovese Italian wood cherubs is a testament to the exceptional craftsmanship and artistic f...
Category

Italian Baroque Antique 16th Century Sculptures

Materials

Wood

Wooden Statue of a Monk with a Bible and a Ciborium, 16th Century
Located in Brussels, Brussels
very beautiful oak sculpture representing a monk with a ciborium and a bible in hand - Germany -16 century Old trace of polychromy Sculpture of good quality with fine hands, be...
Category

German Renaissance Antique 16th Century Sculptures

Materials

Oak

Italian Renaissance, 16th Century, Bronze Statuette, Young Man with a Dolphin
Located in VILLEFONTAINE, FR
Italy, Renaissance period, 16th century, Bronze statuette representing a young man with a dolphin. Italy, possibly Florence Renaissance period, 16th century Rare bronze statuette r...
Category

Italian Antique 16th Century Sculptures

Materials

Bronze

Fra Mattia Della Robbia, Saint Joseph, Tuscany, Around 1505-1510
By Della Robbia
Located in Bruxelles, BE
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...
Category

Italian Renaissance Antique 16th Century Sculptures

Materials

Terracotta

Griffin Head, Italy, 16th Century
Located in Bruxelles, BE
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...
Category

Italian Renaissance Antique 16th Century Sculptures

Materials

Marble

Calzetta Da Ravenna Severo Candlestick Depicting a Kneeling Satyr
By Severo Calzetta da Ravenna
Located in Milano, IT
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...
Category

Italian Renaissance Antique 16th Century Sculptures

Materials

Bronze

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