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Renaissance Sculptures

RENAISSANCE STYLE

Spanning an era of cultural rebirth in Europe that harkened back to antiquity, the Renaissance was a time of change in design. From the late 1400s to the early 1600s, Rome, Venice and Florence emerged as artistic centers through the expansion of global trade and a humanist belief in the arts being central to society. Antique Renaissance furniture was ornately carved from sturdy woods like walnut, its details standing out against the tapestries and stained glass adorning the walls.

Renaissance chests, which were frequently commissioned for marriages, were often decorated with gilding or painted elements. Those that were known as cassoni were crafted in shapes based on classical sarcophagi. As opposed to the medieval era, when furniture was pared down to the necessities, a wide range of Renaissance chairs, tables and cabinets were created for the home, and the designs regularly referenced ancient Rome.

Large torchères of the Renaissance era that were used as floor lamps were inspired by classical candelabras, while marble surfaces evoked frescoes. The inlaid boxes being imported from the Middle East informed the intarsia technique, which involved varying hues of wood in mosaic-like patterns, such as those by architect Giuliano da Maiano in the Florence Cathedral.

Tapestry-woven cushion covers accented the variety of Renaissance seating — from conversation to study chairs — while bookcases for secular use reflected the migration of culture and knowledge from the church into the home. The aesthetics of the Italian Renaissance later spread to France through the publishing of work by renowned designers, including Hugues Sambin and Jacques Androuet du Cerceau. Centuries later, the 19th-century Renaissance Revival would see a return to this influential style.

Find a collection of antique Renaissance case pieces, decorative objects and other furniture on 1stDibs.

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Style: Renaissance
Red Ceramic and Gilt Bronze Antique Ewer Urn
Located in LA CIOTAT, FR
A very ornate French antique ewer urn with a gleaming, red ceramic jug body and gilt bronze foot and trimmings, dating from the beginning of the 20th century ...
Category

Early 1900s French Antique Renaissance Sculptures

Materials

Bronze

Saint Paul, Carved and Polychromed Wood. Spanish School, 16th Century
Located in Madrid, ES
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 ...
Category

16th Century Spanish Antique Renaissance Sculptures

Materials

Other

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

16th Century Italian Antique Renaissance Sculptures

Materials

Marble

Rare Pair of Venetian Sitting Mastiffs Dogs
By Venetian School
Located in Bruxelles, BE
Rare pair of sitting Mastiffs dogs. Venice, end of 15th century - first half of the 16th century. Istrian stone. Provenance: - Important private collection of an architect and scenographer from Orvieto (Umbria) A regular exportation licence delivered by the Italian Ministry of Culture accompanies the work. The representation of the dog dates back to ancient times, when dogs were considered weapons of war and used to attack the enemy or stand guard to protect strategic locations. At the entrance to the Pompei’s villa, the presence of a "cave canem...
Category

16th Century Italian Antique Renaissance Sculptures

Materials

Stone

Angelic Carved Wood Sculptures, 16th Century
Located in North Miami, FL
Pair of 16th Century Italian carved polychromed angelic sculptures.
Category

16th Century Italian Antique Renaissance Sculptures

Materials

Gold Leaf

20th Century Italian Carved Limestone Male Torso - Large Vintage Sculpture
Located in West Palm Beach, FL
A tall limestone statue of a male torso carved in the Classical style. The details remind of the Italian Renaissance period. The large vintage Italian male torso sculpture is positio...
Category

20th Century Italian Renaissance Sculptures

Materials

Limestone

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

16th Century Italian Antique Renaissance Sculptures

Materials

Wood

Indo-Portuguese sculpture "Lady Conception" 17th century, H 147cm
Located in Madrid, ES
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 ...
Category

17th Century Portuguese Antique Renaissance Sculptures

Materials

Wood

Primitive Hand Carved Polychrome Female Bust Renaissance Sculpture Statue 29"
Located in Dayton, OH
Primitive hand carved polychrome shoulder length bust. Carve from wood with intricate detail and a rustic patina. Great for display on a pedestal or table. Dimensions: 17" x 11" x 2...
Category

20th Century Renaissance Sculptures

Materials

Hardwood, Paint

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

16th Century French Antique Renaissance 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

16th Century German Antique Renaissance Sculptures

Materials

Wood, Pine

Spectacular Patinated Bronze SCULPTURE "The Child and the Crab" 19th Cent. VIDEO
Located in Madrid, ES
Spectacular Patinated Bronze SCULPTURE depicting "The Child and the Crab"19th century Italy late 19th century 100 x 70cm good conditions
Category

19th Century Italian Antique Renaissance Sculptures

Materials

Bronze

French Gilt bronze sculpture of a gallant in Renaissance style - 19th France
Located in Beuzevillette, FR
Gilded bronze sculpture representing a gallant young man in Renaissance costume, in the style of the French King Henry IV. He is dressed in a doublet for the top, and over that he we...
Category

19th Century French Antique Renaissance Sculptures

Materials

Marble, Bronze

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

16th Century European Antique Renaissance Sculptures

Materials

Other

Huge Antique P. Dubois. F. Barbedienne Bronze Soldier Sculpture
Located in LOS ANGELES, CA
Huge Antique P. Dubois. F. Barbedienne Bronze Soldier Sculpture.
Category

1890s French Antique Renaissance Sculptures

Materials

Bronze

Italian Carrara Marble Bust Augustus Caesar
Located in Newark, England
The bust intricately carved from Italian Carrara marble with lifelike features including textured hair and shaped chest. The bust carved as Gaius Julius Caesar Augustus Octavius (lat...
Category

Early 18th Century Italian Antique Renaissance Sculptures

Materials

Carrara Marble

Male Profile Relief in Marble Italian Renaissance of the 17th Century with Video
Located in Madrid, ES
Male profile relief in Marble Italian Renaissance of the 17th century Measures: 18cm - Height 27 Cm Good condition for the time.
Category

17th Century Italian Antique Renaissance Sculptures

Materials

Marble

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

16th Century Belgian Antique Renaissance Sculptures

Materials

Wood

Follower of Andrea Sansovino (1460-1529) - Saint Jean the Baptist
Located in Bruxelles, BE
Follower of Andrea Sansovino (1460-1529) Saint Jean the Baptist White marble Tuscany, 16th century 24 x 23 x 10 cm (Nose restored) Saint John the Baptist was the last of the Old Te...
Category

16th Century Italian Antique Renaissance Sculptures

Materials

Marble

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

16th Century Italian Antique Renaissance Sculptures

Materials

Wood, Giltwood

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

16th Century Belgian Antique Renaissance Sculptures

Materials

Oak

Polychrome wooden sculpture depicting a putto, Europe, early 17th century
Located in DEVENTER, NL
Lovely polychrome wooden sculpture of a putto with curly hair and with closed eyes facing downwards, creating a subdued appearance. Presumably the sculpture was made in Central Eur...
Category

Early 17th Century European Antique Renaissance Sculptures

Materials

Wood

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

16th Century French Antique Renaissance Sculptures

Materials

Oak

Cercle of Jacopo della Pila - Marble relief depicting a winged Cherub
Located in Bruxelles, BE
Cercle of Jacopo della Pila (Lombard, in Naples 1471-1502) Marble relief depicting a winged Cherub Naples, second half of15th century 40 x 57 x 12 cm Exquisitely carved, this relief portrays a winged cherub with cascading hair and delicate features. The cherub's plump, smooth countenance, rounded cheeks, outlined lips, and finely drawn nose emanate a sense of tenderness. The quadrangular module, is adorned with a carved frame. The relief ascends gradually, transitioning from the low relief of the wings to the high relief of the head. The rectangular frame and the subtly curved form of the artwork suggest that the relief likely adorned the upper part of an arch or a vaulted chapel. The type is that of the perspective room with a coffered ceiling decorated with figures of winged cherubs, which is found in various Neapolitan chapels of the 15th century. Coffered ceilings attest to the recovery of antiquity and the search for luxury in Renaissance architecture, first in Florence, then in Rome and Naples. The majority of the numerous family chapels and tombs built during the late fifteenth century in south of Italy employ the new formal vocabulary of the Florentine Renaissance in a self-confident manner that permitted a broad spectrum of variations. The escalating admiration for the classical world, coupled with the development of perspective, significantly contributed to the Renaissance endorsement of coffered ceilings. This artistic and constructive device drew inspiration from the intricate marble patterns observed in historical landmarks such as the Arch of Titus, the Temple of Vesta in Tivoli, the Pantheon, and the Basilica of Maxentius. A distilled product of both mathematical and artistic cultures, deeply scrutinizing the ancient world, the coffered ceiling plays a vital role in the perspective construction of space with its regular and directional geometry. The motif of the coffered ceiling decorated with cherubs in relief was introduced in Naples by Francesco Laurana in the plastic decoration of the Arch of Castelnuovo. Laurana's impact on the art scene in the south of Italy was profound. The introduction of the winged cherub into the region's artistic vocabulary bridged the gap between the classical and the contemporary, creating a synthesis that resonated with both aesthetic and spiritual sensibilities. His influence extended beyond the immediate visual appeal, shaping the cultural identity of the Renaissance in southern Italy. Although the plastic decoration of the Arch of Castelnuovo cannot certainly be ascribed to a mature Renaissance style, it was precisely on this occasion that the sculptors who worked there could get to know and export throughout the Italian peninsula that type of "Florentine classicism" which, even in the 15th century Naples, was conditioned by the Burgundian culture imported into the Kingdom by Alfonso of Aragon himself, with artists called from Spain and Northern Europe. The coffered ceiling, with its geometric patterns and Laurana's winged cherubs nestled within, became a symbol of refinement and cultural sophistication. The relief sculptures, carefully integrated into the overall design, transformed the ceiling into a celestial realm, inviting viewers to contemplate the divine while immersed in the grandeur of the Renaissance space. Similar winged cherubs appears also in the Naples cathedral. Within the renowned Succorpo Chapel, a mesmerizing marble coffered ceiling adorned with cherubs epitomizes the splendor of the Neapolitan Renaissance. The interplay of light and shadow on the textured surface of the marble coffered ceiling introduces an ethereal dimension, providing an immersive visual experience for observers. The geometric precision and the repeated patterns, reminiscent of classical motifs, establish a sense of harmony and balance that has become the hallmark of the Neapolitan interpretation of Florentine Renaissance aesthetics. Although probably intended to be admired from a distance, this cherub is intricately detailed and exquisitely rendered: the face and hair are elegantly outlined and the feathers are textured through juxtaposed lines. The marble, both figurative and decorative, adheres to the principles of balance and restrained ornamentation typical of the « Florentine Classicism ». Harmonious shapes and gracefully orchestrated curves , rooted in the classical repertoire, converge to evoke a sense of ethereal beauty. The surface displays the masterful use of a chisel to intricately carve the feathers and facial features, creating an almost abstract quality. This work is a testament to a sculptor of great skill and rich figurative knowledge, seamlessly blending classical firmness in contours with a refined treatment of the marble's surface. The combination of tradition and innovation point to a stylistic idiom from Lombardy, in particular we can find some comparaisons with the works of Jacopo della Pila, sculptor of Lombard origin working in Naples in the second half of the 15th century. He is documented there between 1471 and 1502, and is a protagonist of the Aragon Renaissance in the second half of the Quattrocento, together with the other great Northern sculptor active in the kingdom, Domenico Gagini. the first commission he received dates back to August 9, 1471, when Jacopo publicly committed to sculpting the funerary monument of Archbishop Nicola Piscicelli to be placed in the Cathedral of Salerno. The last known work is an altar ordered on July 29, 1502, by the noble Jacopo Rocco for the church of San Lorenzo Maggiore in Naples. Between these two chronological extremes (1471-1502), we must place the fervent activity of the artist, who had trained in Rome, perhaps under the guidance of Paolo Romano but also engaged in dialogue with other major artists of the city, especially Isaia da Pisa. He enriched his experience in Naples, initially drawing inspiration from the works of Domenico Gagini and later from the Tuscan masterpieces of Antonio Rossellino and Benedetto da Maiano destined for the church of Santa Maria di Monteoliveto. Jacopo della Pila's artistic personality is thus based on a complex interplay of influences, contributing to the definition of a highly personal style. Close comparaison can be made between our cherub and the winged angels reliefs...
Category

15th Century and Earlier Italian Antique Renaissance Sculptures

Materials

Marble

Antique Hand Carved Gilt Wooden Church Statue of Saint Francis & Clare of Assisi
Located in Lisse, NL
For the collectors of unique and remarkable works of religious art. About ten years ago I was fortunate enough to have been invited to Italy for a week. In that week we visited the St. Francis Basilica in Assisi, the place where the world famous Saint Francis was born and where he is buried. For these unique sculptures to have found their way to us, again felt like a blessing. These amazing workmanship and aesthetically pleasing saint statues, we feel, were not created for one person alone, they were made to be seen and appreciated by a larger community. Those who know about Saint Francis will probably know about Saint Clare...
Category

19th Century European Antique Renaissance Sculptures

Materials

Wood

massive rare south German lion bronze Door Knocker, 17th Century
Located in Tel Aviv - Jaffa, IL
very big and massive bronze door knocker, German or maybe Italian in origin, 16-17th century, amazing green original patina to the face, some scares and dings to the face which gives...
Category

Late 17th Century German Antique Renaissance Sculptures

Materials

Bronze

Antique Carved Wood Head Of A Male Mounted On Panel
Located in Bridgeport, CT
A well carved hardwood bust reminiscent of sacred and religious sculpture of the Gothic and Renaissance eras. Antique carved wood head of a mal...
Category

19th Century Antique Renaissance Sculptures

Materials

Hardwood

Saint John of Calvary, 2nd half of the 15th century
Located in PARIS, FR
Large walnut wood sculpture in the round, depicting Saint John in the position he usually has at the foot of Christ on the Cross. Beautifully expressive face, framed by expertly curl...
Category

15th Century and Earlier French Antique Renaissance Sculptures

Materials

Walnut

JESUS GOOD SHEPHERD Indo-Portuguese Sculpture, 17th Century
Located in Madrid, ES
JESUS GOOD SHEPHERD Indo-Portuguese Sculpture, 17th Century in iv... partially painted and gilded. The baby Jesus, asleep, is depicted sitting cross-legged. Posterior dobby. Dim.: ...
Category

17th Century Portuguese Antique Renaissance Sculptures

Materials

Wood

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

16th Century Italian Antique Renaissance Sculptures

Materials

Marble

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

16th Century Italian Antique Renaissance Sculptures

Materials

Gesso, Straw

A White Statuary Marble Figural Group of Apollo and Daphne After Bernini
Located in Brighton, West Sussex
An Impressive White Statuary Marble Figural Group of Apollo and Daphne After The Celebrated Model by Gian Lorenzo Bernini (1598–1680) at the Galleria Borghese in Rome, On Dove Grey Marble Pedestal. Sculpted in the round from a single block of white statuary marble. The male figure of Apollo captured as if in motion, running forward with his weight balanced on his right leg, his robe billowing behind. He leans forward encircling with his left arm the goddess Daphne and at that very moment she transforms into a laurel tree. The statue stands atop an original solid dove grey marble pedestal with rotating mechanism. Bernini’s depiction of the transformation myth of Apollo and Daphne is a sculptural masterpiece of pure virtuosity. Bernini pushes to the limit the plastic possibility of sculpted marble to freezeframe the moment when the goddess Daphne transforms into a laurel tree to escape Apollo. Just as Apollo thinks he has caught her, Daphne’s fleeing form begins to be enveloped by the encircling bark; her fingers leaf out; her toes take root. Apollo encircles her waist with a confident arm; but his facial expression indicates the beginning of an awareness that something has gone wrong. Daphne seems ignorant of her transformation as she looks back over her shoulder, lips parted in fright. Her mouth seems to frame a silent scream as her face goes blank under the force of transformation. Daphne’s hair swings around as a result of her sudden arrest and blows free with a lightness Bernini himself felt he never equalled. The story of Apollo and Daphne originates in Greek mythology, but the most well-known version is the lyrical telling by the Roman poet Ovid in his Metamorphoses (I.438-567), a collection of Greek fables first written in 8 CE. The myth purportedly explains the origin of the laurel tree and its connection to Apollo. He says he will wear her leaves in his hair, will use her wood to make a bow and lyre and that a crown made of her branches will adorn the heads of royalty and campions of game and battle. Apollo uses his powers of eternal youth and immortality to render the laurel tree an evergreen. The subject of Apollo and Daphne is common in paintings but rare in sculpture for the obvious reason that neither hot pursuit nor transformation from flesh to vegetation seemed remotely suited to three-dimensional treatment. However, Bernini triumphs in his handling of such a challenging subject, creating an hallucinatory effect whereby the figures appear to almost skim over the ground. Bernini’s statue of Apollo and Daphne was commissioned by Cardinal Borghese (1577-1633) and begun in 1622 but not completed until 1625 owning to an interluded during which Bernini sculpted his statue of ‘David’. Cardinal Borghese was secretary to his uncle Pope Paul V and in the classic pattern of papal nepotism wielded enormous power as the effective head of the Vatican government. Cardinal Borghese as an art collector was patron of the painter Caravaggio and the artist Bernini. As was the practice, Bernini did not execute the sculpture entirely by his own hand, but with help from his workshop. The finer details that show Daphne’s conversion from human to tree, such as the twigs and leaves springing from her hands, were undertaken by Bernini’s pupil Giuliano Finelli (1601–1653). Apollo and Daphne is still in situ in the Galleria Borghese in the room for which is was made, although today it is positioned at the centre of the room instead of closer to the wall and facing a doorway as originally intended. Bernini’s statue of Apollo and Daphne was immediately acclaimed as a masterpiece for revealing his outstanding talent and innovative spirit, especially the ability to portray both actions and emotions. Appreciation for Apollo and Daphne continued, with a French traveller in 1839 complimenting it as "astonishing both for mechanism of art and elaborateness, and full of charm in the ensemble and the details” (A. Valery, Historical, Literary, and Artistic Travels in Italy: A Complete and Methodical Guide for Travellers and Artists. Baudry. 1839 p. 596). More recently, the historian Robert Torsten Petersson called it “an extraordinary masterpiece ... suffused with an energy that works out of the tips of the laurel leaves and Apollo's hand and drapery” (R.-T. Petersson, Bernini and the Excesses of Art, Fordham Univ Press, 2002, p.80). The fame of Apollo and Daphne made it a must see for visiting Grand Tourists during the 18th and 19th centuries and the wealthiest could commission a replica. Fulfilling this demand in the late 19th century were the workshops of Roman sculptor such as Raffaello Romanelli, Ernesto Gazzeri...
Category

19th Century Italian Antique Renaissance Sculptures

Materials

Statuary Marble

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

16th Century European Antique Renaissance Sculptures

Materials

Other

Hand Carved Stone Column Base pedestal Sculpture Doorstop Decorative Element LA
Located in West Hollywood, CA
Hand Carved Stone Column Base pedestal Sculpture Doorstop Decorative Element LA Nicely hand carved 17th century Renaissance stone column base appliqu...
Category

17th Century French Antique Renaissance Sculptures

Materials

Stone

Bookends in Form of Renaissance Monk Library Natural Alabaster and Marble
Located in Mombuey, Zamora
Expectacular Antique Library, Bookends, Throne, medieval, revival Alabaster and marble bookends in the shape of monks sitting on a throne reading a book Medieval style figur of a mo...
Category

Early 20th Century Italian Renaissance Sculptures

Materials

Alabaster, Marble

15th Century Italian Renaissance Bronze Medallion
Located in Fort Lauderdale, FL
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 ...
Category

15th Century and Earlier Italian Antique Renaissance Sculptures

Materials

Bronze

Crystal Ball on a 19th Century French Bronze Cherub Stand
Located in San Francisco, CA
An exceptional Renaissance style patinated and gilt bronze cherub base made in the early to mid 19th century. The figure holding a 10 inch diameter crystal ball. Beautiful quality ...
Category

Mid-19th Century European Antique Renaissance Sculptures

Materials

Bronze

Italian Memento Mori skull - 17th century
Located in Bruxelles, BE
Italian Memento Mori skull Marble North of Italy, 17th century H 9 x L 7 x P 14 cm At the turn of the 16th century, they were the height of fashi...
Category

17th Century Italian Antique Renaissance Sculptures

Materials

Marble

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

16th Century Antique Renaissance Sculptures

Materials

Bronze

Large Virgin and Child in polychrome wood, Spain, 16th Century
Located in PARIS, FR
Large painted and carved wooden Virgin and Child in the round, representing the Virgin and Child carrying the globe. The theme of the Virgin and Child is the most represented in all ...
Category

1630s Spanish Antique Renaissance Sculptures

Materials

Wood

A Very Rare and Important Marble Relief of the ‘Resurrection of Christ’
Located in London, GB
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: ...
Category

15th Century and Earlier Italian Antique Renaissance Sculptures

Materials

Marble

Antique Sculpture of Mary with the Child Jesus, Belgium, early 17th century
Located in DEVENTER, NL
Sculpture of Mother Mary with the Child Jesus. Mary has the child on her right hand. Jesus makes a blessing gesture and wears a small globe. ( a sign off His power over the world) Mo...
Category

Early 17th Century Belgian Antique Renaissance Sculptures

Materials

Softwood

Niche In Gilt Wood From The 17th Century
Located in Brussels, Brussels
niche in gilded wood from the 17th century from Italy Lovely niche with a carved wood in its center from the Italian Renaissance Beautiful original gild wood Dimensions excluding ba...
Category

17th Century French Antique Renaissance 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

16th Century French Antique Renaissance Sculptures

Materials

Limestone

Ecce Homo - Florence, 15th century
Located in Bruxelles, BE
A terracotta bust "Ecce Homo" Florence, 15th century 53 x 44 x 31 cm
Category

15th Century and Earlier Italian Antique Renaissance Sculptures

Materials

Terracotta

RENAISSANCE COAT OF ARMS in White Carrara Marble Italy 17th Century
Located in Madrid, ES
RENAISSANCE COAT OF ARMS in White Carrara Marble Italy 17th Century finely carved with roccaille inside reserve crowned heraldic coat of arms Ital...
Category

17th Century Italian Antique Renaissance Sculptures

Materials

Carrara Marble

Beautiful 17th Century Italian ' Tuscany ' Window
Located in Madrid, ES
Beautiful 17th century Italian ( Tuscany ) window Measures : Height 60cm Width 78cm Thickness 8 / 10 cm Weight 80 kg Material white limestone Good condition for the time.
Category

17th Century Italian Antique Renaissance Sculptures

Materials

Stone

Mounted Elkhart Coral on Antique Medici Syle Base
Located in New York, NY
Elkhorn Coral: Resting upon a meticulously crafted Antique Medici Style Base, measuring 14.5 inches, this captivating piece seamlessly blends the allure of the ocean with the sophist...
Category

21st Century and Contemporary Renaissance Sculptures

Materials

Coral

20th century Italian sterling silver miniature rom the "History of Fashion"
Located in VALENZA, IT
20th-century Sterling Silver miniature belonging to the collection "The History of Fashion" of a 16th-century women's costume that belonged to Eleonora Gonzaga. Eleonora Gonzaga (Ma...
Category

1990s Italian Renaissance Sculptures

Materials

Sterling Silver

Italian Renaissance Carved Wooden Angel Head
Located in Los Angeles, CA
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...
Category

15th Century and Earlier Italian Antique Renaissance Sculptures

Materials

Wood

Massive Antique Carved Hardwood Bust Of Shakespeare
Located in Bridgeport, CT
A Rare European Hardwood (Believed to be Elm) wall-mount Bust of the justly famous Playwright, Writer and Actor William Shakespeare (April 1564-April 1616). Unmistakeable with his po...
Category

19th Century European Antique Renaissance Sculptures

Materials

Hardwood

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

16th Century Italian Antique Renaissance Sculptures

Materials

Petrified 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

16th Century French Antique Renaissance Sculptures

Materials

Sandstone

After Michelangelo White Statuary Marble Sculpture of Moses
Located in Wormelow, Herefordshire
A scale white statuary marble sculpture of Moses after Michelangelo circa 1875. After the larger than life-size Carrara marble original from the tomb of Pope Julius II in St. Peter’s Basilica, Rome completed around 1515. This scale sculpture is exceptionally carved, capturing the quality and detail of Michelangelo’s Moses...
Category

Mid-19th Century Italian Antique Renaissance Sculptures

Materials

Marble, Statuary Marble

17th Century Italian Carved Wood Polychrome Corpus Christi Starburst Crucifix/Cr
Located in Lincoln, GB
17th Century Italian Carved Wood Polychrome Painted Corpus Christi Starburst Crucifix/Cross An excellent example with intricate carved detailing to the corpus face and body Wall mo...
Category

17th Century Italian Antique Renaissance Sculptures

Materials

Wood

Albert-Ernest Carrier-Belleuse, A Rare and Important Bronze Bust of Michelangelo
Located in New York, NY
Albert-Ernest Carrier-Belleuse, (1824 1887) A Rare and Important Patinated Bronze Bust of Michelangelo On A Rouge Marble Base. Presenting an extraordinary and highly collectible ma...
Category

19th Century French Antique Renaissance Sculptures

Materials

Marble, Bronze, Wrought Iron

Italian 19th Century Renaissance White Glazed Porcelain Figural Group Sculpture
By Capodimonte, Giambologna, Carlo Ginori
Located in Firenze, IT
This compelling Italian 19th century white glazed porcelain sculpture depicts ‘The Rape of the Sabines’, after a monumental work by the Renaissance artist, Giambologna (1529-1608) th...
Category

19th Century Italian Antique Renaissance Sculptures

Materials

Porcelain

Sensual Realistic French Sculpture of Male Nude Mythological Figure Hercules
Located in Hopewell, NJ
Impressive realistic plaster statue of a muscular nude male that sits on top of a square block base. The elegant design shows intricate detail and quality craftsmanship. Incredibly s...
Category

19th Century French Antique Renaissance Sculptures

Materials

Plaster

Renaissance sculptures for sale on 1stDibs.

Find a broad range of unique Renaissance sculptures for sale on 1stDibs. Many of these items were first offered in the 21st Century and Contemporary, but contemporary artisans have continued to produce works inspired by this style. If you’re looking to add vintage sculptures created in this style to your space, the works available on 1stDibs include decorative objects, more furniture and collectibles, building and garden elements and other home furnishings, frequently crafted with wood, metal and other materials. If you’re shopping for used Renaissance sculptures made in a specific country, there are Europe, Italy, and France pieces for sale on 1stDibs. While there are many designers and brands associated with original sculptures, popular names associated with this style include Europa Antiques, Andrea Salvatori, Ferdinand Barbedienne, and Capodimonte. It’s true that these talented designers have at times inspired knockoffs, but our experienced specialists have partnered with only top vetted sellers to offer authentic pieces that come with a buyer protection guarantee. Prices for sculptures differ depending upon multiple factors, including designer, materials, construction methods, condition and provenance. On 1stDibs, the price for these items starts at $135 and tops out at $348,500 while the average work can sell for $6,442.

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