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 ...

Capturing the timeless grandeur of Renaissance artistry, this vintage Italian sculpture is a finely detailed reproduction of Michelangelo’s iconic "David." Masterfully carved from fi...

Beautiful weathered oak Renaissance ornaments that most likely once adorned a half timbered house in Normandy. France, 17th century. Weathered, small losses Measurement here below a...

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...

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

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...

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...

Rare carved wooden head of a bald, bearded saint, apostle or hermit, possibly Saint Paul or Saint Paul of Thebes, probably 16th to 17th century, European, possibly Southern European....

Large Pair of Cast Iron Seated Dogs Lovely Detail

An impressive antique hand-carved wooden cherub lectern or book stand, dating from the early 18th century The beautifully carved winged cherub is depicted balancing gracefully on a t...

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

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: ...

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...

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

North Italian, 16th century Bust of the emperor Vitellius Bronze, on later bronze socle, lead support to reverse 18 cm. / 7 ins (the bust), 23 cm. / 9 ins overall This fine and apparently unique all’antica Renaissance bronze is inspired by a bust in Venice thought to depict the Roman emperor Vitellius (15-69 AD), who ruled for only eight months in 69 AD before he was overthrown by Vespasian. The Vitellio Grimani, also known as the pseudo-Vitellius, was discovered in Rome in 1505 during excavations on the Quirinale on land owned by the Venetian cardinal Domenico Grimani (1461-1523). On the death of Grimani the Vitellius was sent to Venice and bequeathed to the Republic of Venice, where it was displayed at the Palazzo Ducale from 1525 to 1593. It is now in the Museo arceologico nazionale di Venezia (inv. 20) and regarded as a portrait of an unknown Roman from the first half of the second century AD. The present small bust, with its rough, waxy surface and imaginative adaptation of the antique model on which it is based, bears all the hallmarks of Renaissance bronze modelling in the north of Italy. Indeed, the vigorous modelling is reminiscent of the works by Andrea Briosco, called Il Riccio (1470-1532), who worked in Padua in the Veneto and specialised in small bronzes based on antique subjects. See, for example, his head of Bacchus (private collection, offered at Sotheby’s London in 2021), which has a similarly waxy treatment of the hair. The fantastical lion-mask on the breastplate, with its stylised face and unusual braids of hair, is also typical of the imaginative re-working of antique motifs by Renaissance artists. This indicates that the present bust is probably by a follower of Riccio working in Padua or another centre of classicism in the Veneto. RELATED LITERATURE: L. Planiscig, 'Andrea Riccio...

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...

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...

GILT BRONZE CORPUS CHRISTI Probably German, circa 17th century or 18th century 6 3/8" H Gilt bronze, later stand A small gilt bronze Corpus Christi following the tradition of thos...

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...

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...

Italy, circa 1700 A rare and impressive Renaissance-style canopy, expertly carved in wood and finished in rich gilt, dating to Italy around 1700. Distinguished by its bold architect...

This is an old large Spaniard hand painted and carved wood nude baby Jesus. He has hand painted large expressive eyes and eye brows. His abundant hair is bro...

Pair 19thc Italian Renaissance/ Baroque style Large Carved and Polychromed Wood Full Relief Cherub Sculptures. Holding their instruments. These precious figures are large and hang be...

An impressive and large pair of carved oak/lime wood winged griffins from the C19TH. Likely Italian in origin and influenced by the European mythology of Hvars beast a carved galley...

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...

Pair of bronze sculptures of Mercury and Fortuna French, late 19th century Measures: Mercury: Height 64cm, width 11cm, depth 27cm Fortuna: Heigh...

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...

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

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

Mid-19th century over life-size carved marble statue of Michelangelo's "Bacchus". Grand Tour copy through the "Point To Point" method directly from the original keeping its masterful proportions and Fine details in an exact size to Michelangelo's work. We have never seen a 19th century copy of this Renaissance Masterpiece of this size and are quite fortunate to be responsible for its stewardship until purchase by a discerning collector The original "Bacchus" is a marble sculpture by the master, Michelangelo, created circa 1496 when the artist was 21. This statue was originally commissioned by Cardinal Raffaele Riario. However, it was rejected by him and eventually found its way to Jacopo Galli, Cardinal Riario’s banker and a friend of the sculptor, who purchased it in 1506. Some 66 years later it was bought for the Medici and transferred to the royal house in Florence, Italy. Currently it can be viewed at the Museo Nazionale del Bargello in Florence. It is one of just two sculptures surviving Michelangelo’s initial period in Rome, with the other being Pieta. The artwork: This somewhat oversized...

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...

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...

A PLASTER BUST OF INFANT BACCHUS AFTER CLAUDE MICHEL CLODION (1738-1814) First half of 20th century Depicted with ringletted hair adorned with vine leaves and grapes on a circular f...

Red coral branch embellished with natural emeralds mounted on a 19th-Century French bronze doré fragment. This is a lovely objet d'art to add to your collection or cabinet. During t...

Large antique Italian majolica pottery bust of a boy after Andrea della Robbia's famous sculpture from the late 15th century at the height of the Italian Renaissance. This tin-glazed...

"This is a fragment of a sculpture depicting a winged lion, carved from Verona stone, probably dating from the 1500s." The lion, a symbol of strength and majesty, has a powerful appe...

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

Life-size marble sculpture of Spring by Antonio Frilli Italian, late 19th century Height 159cm, width 47cm, depth 40cm This superb sculpture is the work of Antonio Frilli, a renowned Italian artist active in the late 19th century, who founded the Frilli gallery...

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...

Four antique bronze plaques depicting water-nymphs, by Ferdinand Barbedienne French, 19th century. Measures: Height 47cm, width 12cm, depth 2.5cm Finely cast in relief from patinated bronze with parcel gilt patina, these French 19th Century panels each depict a Classical female water-nymph. The relief structure and design is after four panels from the important marble fountain from the Renaissance period in Paris called the Fontaine des Innocents. This was created by the French sculptor Jean Goujon...

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...

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.

Hand Carved Stone Column Base pedestal Sculpture Doorstop Decorative Element LA . Nicely hand carved 17th century Renaissance stone column base appli...

An antique carved boxwood cherub decorative wall hanging dating to circa 1650. Crafted in boxwood, this renaissance style sculpture depicts a detailed handcarved cherub or putti bea...

Majestic majolica Amphora vase, with a height of 200 cm (78,7 in) and a diameter of 70 cm (27,5 in): a unique piece, entirely handmade and hand-painted in Gubbio, Central Italy, in 1...

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...

Antique (late 19th century) patinated bronze sculpture of Mercury after the original model by Giambologna (1529-1608), aka Giovanni da Bologna (Italian) and Jean de Bologne (French),...

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...

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...

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...

Masterful pair of 20th-century Malachite Obelisks with a Carrara marble base and graceful gilded bronze friezes. The base features engravings of Masonic symbols. The pair is from a...

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 ...

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...

This marble figure of a sleeping child was crafted around 1800 in the style of François Duquesnoy, a sculptor active in Italy in the early 17th Century....

An interesting and well-modelled pair of late 19th century French terracotta renaissance style figures after Albert-Ernest Carrier-Belleuse (1824-1887) with a bronzed finish. The le...

"Ferdinando Vichi", Florence 1875-1945. Romantic figure of sitting woman. Made in marble, sitting on a chair made of bronze, original pedestal of green, Italian marble. Sign. Vichi. Ca. in 1900. (In two pieces) Ferdinando Vichi (1875-1945) was a central figure in the production of Florentine sculpture...

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

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