Renaissance Sculptures

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

Italian Alabaster Figure of the Medici Lion Late 19th century Italian carved alabaster 'Grand Tour' souvenir sculpture, after the antique, "The Medici Lion". Carved alabaster mode...

Bronze male sculpture signed. Fonderia Giorgio Sommer Calabritto Napoli Thomas, sculptor, lived and worked in the Naples area, and especially on Capri, from 1889 to 1906. Given this ...

Antique (late 19th to early 20th century) patinated bronze sculptures of Mercury and Fortuna after the original models by Giambologna (1529-1608), aka Giovanni da Bologna (Italian) a...

This statue/sculpture represents Mercury or Hermes, in relations to the Roman or Greek denomination of the gods. The original was sculpted by Giambologna in the 19th century. This br...

**Magnificent Late 19th-Century Neo-Renaissance Figural Nef, ca. 1880s-1890s** This exquisitely crafted table vessel embodies the grandeur of Renaissance-inspired artistry, reinte...

This is an alabaster group sculpture of the Cretan princess and daughter of the king Minos of Crete, Ariadne seated over her panther. Her left elbow is over the head of the panther a...

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...

The Head David statue is a timeless and iconic decorative piece meticulously crafted from luxurious white marble to exude elegance. This sculpture features intricate details and a sm...

Renaissance bronze medallion made by Master IOFF in the mid 15th century, showing the mythological scene of Ariadne on Naxos. Made in the mid-15th ...

Meticulously carved from beechwood, this cherub pair recalls the iconic Renaissance style of the fifteenth and sixteenth centuries. Better recognized by their Italian name, putti—the singular putto refers to the Latin putus, meaning “boy” or “child”—these types of figures often recur in religious artwork as symbols of God...

Black coral sea fan embellished with green tourmaline mounted on a 19th-Century French bronze doré fragment. This is a lovely objet d'art to add to your collection or cabinet. Durin...

A very pretty Italian mid century religious triptych depicting Raphael’s Madonna of the Chair. Label on the back. Made in Italy, Florence. Measurements: Closed 12cm. Open 24cm Heigh...

This striking Renaissance style carved gilt wood sculpture depicts a "grotesque" dolphin surmounted on a wood plinth base. The sculpture is modeled after classical Greco-Roman descr...

A Very Rare and Important Marble Relief of the ‘Resurrection of Christ’ Attributed to the Master of the Mascoli Altar Marble Venice, Italy Second half of the 15th Century SIZE: ...

Black coral sea fan embellished with natural quartz mounted on a 19th-Century French Napoleon III bronze doré fragment. This is a lovely objet d'art to add to your collection or cabi...

An 18th Century carved & polychromed Saint, various old repairs & losses, but truly great original surface! 42 1/2"h. We are a family business that has been a major source f...

Red coral branch mounted on a 19th-Century French bronze doré fragment. This is a lovely objet d'art to add to your collection or cabinet. During the Renaissance, Cabinets of Art an...

A rare enamel, gold and rock crystal figure of Emperor Maximilian I by Reinhold Vasters, Aachen, In the Renaissance style, circa 1870. The g...

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...

Indo-Portuguese sculpture "Lady Conception" 17th century, H 147cm. Our Lady Conception Indo-Portuguese teak wood carving from the 17th century. Upholstered and polychrome . T he ...

Black coral sea fan embellished with tourmaline and a showy quartz druzy shell specimen mounted on a 19th-Century French bronze doré fragment. This is a lovely objet d'art to add to ...

16th C. Hand Carved Capital Stone Base Architectural Element Sculpture Pedestal. Very rare 16th Century Renaissance corner Capital . Hand carved limestone Chapiteau Capital from a Cloister in France . From an ornamental point of view , it is the coronation , the upper part of a post or a column or pilaster pillar . A beautiful Architectural element garden ornament . It can used as a Base for a coffee glass table , or as a side table for drinks or to mount books. A stunning Fragments to be used as stand for a sculpture . Use it as a pedestal or as a mounted decorative object. In an entryway a bathroom a living room , in an office , it will create an incredible focal point . It can make a beautiful base for a floor lamp by a leather reading chair...

A pair of cast bronze cherubs or putti standing contrapposto on a square red marble base, France, circa late 1800s. Note: These charming cherubic figures were probably used in combi...

Italian Renaissance oak carved sculpture featuring a semi-nude woman gasping looking upwards with hellenistic drapery wrapped around her arms and abdomen holding a staff and a cub in...

These two busts, monumental in both their size and artistry, come from the renowned Italian majolica workshop of the famed Angelo Minghetti. Depicted are the Renaissance political an...

PAIR of Italian Renaissance style (late19th Century) walnut life-size carved figures of the Devil and his wife standing on pedestal bases. (attributed to Francesco Toso) (PRICED AS P...

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

PAIR of Italian (early 19th Century) painted and parcel gilt carved standing figures of a young man and lady dressed in traditional cloths (PRICED AS PAIR)

Vintage Polychrome Plaster Bust of Ippolita Maria Sforza in the Renaissance Style After Francesco Laurana. Circa Early 20th Century. Measurements: 19" H x 19" W x 9" D.

Important and refined oval polychrome stucco depicting the Madonna and Child. The mother and child are held in a tender embrace, and in addition to the Madonna's typical robes, two h...

This is an alabaster and marble bust of Saint Clare of Assisi. It depicts a young lady head/face covered with a cloak. She is looking down, very peacefully...

Fantastic reproduction of the famous saltcellar of Benvenuto Cellini, symbol of the world goldsmith's art. The master goldsmith made only very few copies of this wonderful object that makes it a unique piece in the world. 6.641 grams of solid silver. Some information on the original piece by Benvenuto Cellini: The Cellini Salt...

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...

Red coral branch mounted on a 19th-Century French bronze doré fragment. This is a lovely objet d'art to add to your collection or cabinet. During the Renaissance, Cabinets of Art an...

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

PAIR OF CORBELS 19th century Portuguese brown wood Profuse decoration with plant motifs. Dim.: 38 x 31 cm good state

A lacey black coral sea fan embellished with natural citrine mounted on a 19th-Century French bronze doré fragment. This is a lovely objet d'art to add to your collection or cabinet....

Pair of Italian Renaissance style green patinated bronze figure of horse walking (from a series of 1,000 titled: "Cavalli di San Marco II", signed by L...

Polychrome and gilt papier-mâché Religious Madonna and child depicting the Nuestra Señora de la Candelaria. Figures stand on a gilt rectangular base with painted description by the a...

Marble Helmet
 France, 17th century
 Marble
 25 × 27 × 18 cm This finely carved marble helmet, adorned with a grotesque mask, exemplifies the 17th-century fascination with antique-i...

Jacques Bergé "King David" - Terracotta or Fired Clay with Polychrome Remnants Dated 1736 14.5" h x 5.5" w x 4.5" d A rare and exceptionally refined terracotta sculpture of *King ...

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...

This 19th-century plaster foot sculpture is an imposing and impressive work of art. With dimensions of 28 inches in width, 15 inches in depth, and 22 inches in height, its colossal s...

Black coral sea fan embellished with green tourmaline and a showy quartz druzy shell specimen mounted on a 19th-Century French bronze doré fragment. This is a lovely objet d'art to a...

Sterling, Bone, & Semi-Precious Gems Figure of 'St. George & Dragon' Germany, Early 20th Century A meticulously cast and modeled Medieval / Renaissance Figure of St. George Slaying the Dragon, This figure with a moveable helmet visor, revealing his carved bone face...

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...

2 large ceramic horses' heads with a glossy white glaze, inspired by the "Horses of San Marco" or Donatello's so-called Protomé Carafa horse head. The two heads have different exp...

Pair of gothic revival carved cherubs circa 1970. Good quality pair of hardwood cherubs which are coloured to match walnut. Each figure seated on a plinth base of carved rock, tree...

20th century French stone lion holding a shield on a pedestal. A 20th century lion carved from stone holding a crest carved with a lion with wearing a crown. It is a representation o...

2 Italian Renaissance style objet d'art ostrich eggs mounted on bronze triple griffin bases (19/20th Cent) (PRICED EACH)

Spectacular Patinated Bronze SCULPTURE depicting "The Child and the Crab"19th century Italy late 19th century 100 x 70cm good conditions

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...

Italian renaissance hand carved wooden "putto" angel head, circa 15th Century Width 14 inches / height 14 inches / depth 4 inches 1 available in stock in Italy Order reference #: FAB...

Head David Sculpture In Antique Bronze Finish On Black Marble Base The Head David sculpture is a sophisticated decorative object featuring a rich antique bronze finish that evokes a...

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...

Pair of Italian Renaissance style (19th Century) carved oak large angels with guitars.  

Pretty small sculpture depicting two dancing cherubs in Renaissance taste. Italian workshop, 19th century. One foot is missing from the right putto, visible in photo. Measurements...

Petite lacey black coral sea fan embellished with tourmaline mounted on a 19th-Century French bronze doré fragment sitting on an optical calcite base. This is a lovely objet d'art t...