Renaissance Sculptures

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...

French bisque porcelain portrait bust in the Renaissance manner. French, 19th Century Measures: height 65 cm, width 40 cm, depth 22 cm. Th...

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...

Well cast and impressive sculpture of a nude woman entitle "The Vine" numbered 9/100. Bronze cast on solid marble base. Measures: 24" high.

An important bas-relief in carved wood with traces of gilding, in an architectural frame with two cherubs in the spandrels, representing Saint Roch. He is considered to be the patro...

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

Bronze salamander Italy, 17th century Patinated bronze 4 x 17 x 10 cm This finely cast bronze salamander exemplifies the 17th-century fascination with naturalistic forms and animal ...

Reduction in patinated bronze with the high-relief decoration of the Monument to Dante, with glass top to form a pedestal table The Monument to Dante, sculpture dedicated to Dante A...

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...

Pair of patinated bronze sculptures after Giambologna French, late 19th century Measures: Mercury height 86cm, width 19cm, depth 27cm Fortuna height 83cm, width 18cm, depth 28cm ...

Marble lion white marble France, probably Périgord, 17th century Small marble lion wearing a coat of arms pendant with the engraved date, ...

Early 16th Century Spanish gold gilded and polychromed carved wood sculpture of John The Baptist.

Coppia di Importanti Cariatidi del 1600 in legno intagliato a patina scura provenienti da un complesso corale impiegati come divisori tra gli stalli. Le due figure sono asessuate, co...

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...

This beautiful sculpture of a mother and child was created in circa 1900 by the French sculptor, Vincent Desire Faure de Brousse. Faure de Brousse was...

Easily recognizable with his gesture of showing pest effect on his thigh this pilgrim saint is accompanied by an angel curing him. The quality of the wood is noteworthy. Bibliography Louis Réau, Iconographie de l’Art Chrétien...

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...

A genuine original Armani Figurine of a woman with a dog , very detailed sculpture, which G. Armani is famous for , it is made in Florence Italy , l...

An elegant marble statue of the pacing stallion after the antique by Alceo Doessena. Inspired by the Horses of San Marco in Venice, this beautifull...

"Michelangelo prèt-a-porter " -peneculo - Unique piece, 2017 glazed earthenware A RING THING collection A small chair, a miniature moon, a Philipp Stark's squeezer or the anatomi...

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 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...

The monk is depicted with an oval face, marked with high and strong cheekbones, sunken cheeks, strong jawbones and a cleft chin. His almond shaped eyes are opened under very strong a...

A very fine copy of the Renaissance sculpture entitled 'A Little Boy'. After Italian Renaissance sculptor Desiderio da Settignano, or Deside...

Hand-carved in the 1500s, these Italian lion supports are the work of a master-level craftsman. It is possible that they were originally legs for a High Renaissance cassone. A fresh ...

"Polychrome carved wooden sculpture of Saint Sebastian, late 16th century. JUAN DE JUNI" Attributed to: Circle of Juan de Juni (Valladolid School) Date: Circa 1580-1600 Material: Car...

This is a pair of Capodimonte glazed white Parian porcelain nude cherubs who are playing with some gilt round small balls. Both of them are standing n...

A very fine copy of the Renaissance sculpture entitled 'A Little Boy'. After Italian Renaissance sculptor Desiderio da Settignano, or Desiderio de Bartolomeo di Francesco detto Ferro. In cast bronze. Simply a wonderful bust! Date: 20th Century Overall Condition: It is in overall good, as-pictured, used estate condition. Condition Details: There is rubbing to the patina on the crown of the head...

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...

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...

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...

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...

Extremely large, hand molded, painted, and majolica-glazed, relief sculpture "Tondo" (meaning "art in the round") after famed Renaissance artist, Andrea della Robbia...

This is an unusual pair of 17th Century (or earlier) Flemish (?) carved lions that once formed part of a large cabinet or, perhaps, the feet of an elaborat...

This masterfully carved 17th-century Flemish sculpture presents Jesus Christ as the “Salvator Mundi” — Savior of the World — a powerful icon of devotion and divine kingship. Sculpte...

In reference to the remarkaple marble group of three larger-than-life figures, known as ‘The Rape of the Sabine Women’, which is located under the right arcade of the Loggia dei Lanz...

After the model by Pierre (Pietro Francavilla) de Francheville) (1548-1615) This energetic model of an athlete in motion has finely detailed musculature. The patina is a rich brown...

Sterling, Bone, & Semi-Precious Gems Figure of a Court Jester Germany, Early 20th Century A meticulously cast and modeled Medieval / Renaissance Figure of the Court Jester...

Spanish Santa Margherita with Dragon hand carved wood sculpture. Beautiful original polychrome especially on the dog figure which is an example of a mythical Renaissance medieval dragon...

Christopher Columbus bust, ceramic Columbus bust, Christopher Columbus sculpture, Hand-molded bust of Christopher Columbus on light-colored ceramic visible signature Stefano Todini. ...

Pair of Italian Renaissance (19th century) small gilt bronze lions on a pale green rectangular marble plinths.

15th Century Italian Renaissance Giltwood Carving . This magnificent 15th century Italian Renaissance gilt wood carving with a serpent is displayed ...

A terracotta bust "Ecce Homo" Florence, 15th century 53 x 44 x 31 cm

A dramatic patinated bronze statue depicting a mounted crusader on his rearing horse ready to strike a mortal blow to a fallen Saracen lying beneath him on a rocky landscape. In a desperate attempt to defend himself the Saracen is shown thrusting his sword into the chest of the the crusader's horse. The bronze grouping is mounted on a green scagllola painted marble base with gilt bronze trim. While the bronze is not signed it had to be cast after a hugely famous bronze very similar statue by Jean-François-Théodore Gechter (1795, Paris - 1844, Paris) titled "The Combat of Charles Martel...

A Rare Italian White Marble Relief of "Young Saint John the Baptist" circa 1860 after Desiderio Da Settignano. The original pietra serena relief by Desiderio Da Settignano, is in ...

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...

This fine 19th century copy of the famous group is in a sumptuous Serpentine marble. The Sabine man crouches in submissive pose, whilst the Roman carries off the writhing woman. It is well-presented on the original matching plinth and pedestal . This perhaps forms part of someone's Grand Tour along with mosaics and bronzes after the antique...

French painted bisque porcelain bust of a woman French, 19th century Measures: Height 68cm, width 40cm, depth 30cm This fine bust is crafted from painted bisque porcelain. The bust depicts a young woman in a historicised Renaissance style: the sitter tilts her head to her left, her eyes glancing to something in the distance. She wears an ornate feathered head...

Antique E. Rousseau Cast Spelter Metal French Maiden Woman Bust Sculpture. Item features cast metal construction, wooden base, signed to rear, very unique antique sculpture. Circa 1...

Antique Bronze King Umberto Visiting Cholera Hospital Naples 1884 Dish Wall Plaque. Item features fine cast bronze relief, remarkable details, banner reads, "Visita Di S.M. Umberto I...

lovely pair of Saint Mark in walnut from the 16th century - Venice Very beautiful pair finely carved representing Saint Mark with a book in his hand a lion at his side This is a pen...

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)

A well carved hardwood bust reminiscent of sacred and religious sculpture of the Gothic and Renaissance eras. Antique carved wood head of a mal...

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

Carved oak sculpture of Christ emerging from the tomb, surrounded by Roman soldiers, 17th century. Carving of Christ emerging from the tomb, surr...

Followers of Jean de la Huerta, Jean de Blany ? Saint Jerome Limestone Burgundy, second half of the15th century 60,5 cm ALR Ref : S00248050 This exquisite sculpture of Saint Jerome, carved from soft, nearly white limestone typical of eastern France, exemplifies the exceptional craftsmanship of 15th-century Burgundian art. The figure of Saint Jerome, a key figure in Christian history renowned for translating the Bible into Latin, is depicted wearing a cardinal’s hat and holding the Vulgate Bible...

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...

A stunning and finely crafted bronze bust depicting a noblewoman in Renaissance-style attire. This captivating sculpture is a superb example of 19th-century neoclassical artistry, r...

16th Century, Pair of Italian Lacquered and Gilt Wood Sculptures Torch Holders The pair of sculptures, in finely carved wood, lacquered and gilded, was born as a torch holder, and ...

A Bronze Figure of Vanity, Early 19th Century Provenance: Private Melbourne Collection. Description: Modelled after Pierre-Maximilien Delafontaine (1777-1860), the personification...