Renaissance Sculptures

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

Grand Tour Verdigris Marble After Giambologna, The Abduction of a Sabine Woman' Italy, Mid- 19th century, Attributed to the workshops of Benedetto Bosch...

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...

Italian important 17th century small bronze technique lost wax "La Pietà" by STEFANO LANDI . Measures cm: H 20 x W x 20 x D 20 "La Pietà" was a very popu...

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...

"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...

A huge Burgundy 15th century Christ on its cross. Oak wood . Cross is modern. Damages, some parts missing. 98x83 cm without the cross.

French Gilt Cast Metal Lute Player, seated on a column and foot stool in Renaissance period costume. 11.5" H x 10" W x 4.5" D. Provenance: From a New York City Collection.

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...

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 ...

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...

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.

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...

Italian Renaissance painted pine life size figure of religious scholar holding book (17/18th Cent) Replacement finger

Saint John the Baptist
 Bronze
 After a model by Bertoldo di Giovanni (ca. 1440–1491)
 Northern Italy, 18th century 27,5 x 8 x 5 cm This finely cast and patinated bronze statuette ...

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...

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)

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...

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

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

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...

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

Set of 3 Italian Renaissance style (19th Cent) stripped large figures/statues playing musical instruments

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...

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...

"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: Carved wood and gilded polychrome (estofado) Dimensions: 73 x 33 x 21 cm Origin: Spain Description: A powerful late Renaissance depiction of Saint Sebastian, masterfully carved in wood and richly polychromed and gilded (estofado technique). This Spanish sculpture, probably from the late 16th century, displays expressive anatomy, emotional tension, and dramatic movement—stylistic traits strongly associated with the school of Juan de Juni, a leading figure in Castilian sculpture of the period. Sebastian is depicted half-naked, tied to a tree trunk, with traces of blood and arrows, symbols of his martyrdom. The sculpture demonstrates a high level of craftsmanship, particularly in the modeling of the torso, the twisted posture, and the naturalistic treatment of the face and hair. The piece retains much of its original polychromy and gilding, with some expected age-related losses. It has undergone preventive conservation treatment to ensure its structural stability while preserving its historical authenticity. Condition: Generally good condition considering its age. Some loss of polychromy and gilding is visible, particularly on the torso and base, but the sculpture retains a remarkable degree of originality. A professional restoration was carried out to strengthen and preserve the structure. Provenance: Private collection, Spain. Juan de Juni (circa 1507-1577) was a renowned sculptor and architect of French origin, probably born in Joigny, Burgundy, France. Although born in France, he spent most of his career in Spain, where he became one of the major figures of 16th-century Spanish religious sculpture...

Judith with the head of Holofernes, unsigned rectangular cast bronze plaquette, by Andrea Briosco, called Riccio (1470-1532), Judith...

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

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...

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

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...

Oak sculpture of Saint Anne, 16th century. Large oak sculpture of Saint Anne. Work from the Upper Rhine, Basel region. First third of the 16th century. An arm is missing from the i...

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

Antique continental wood carving of a youth holding a vessel resting on a lion carved pedestal, 19th century. Both wood carving and pedestal have excelle...

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

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 ...

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...

Antique French Renaissance "Rebecca at the Wall" Spelter Metal Large Statue Sculpture weighing approx. 110 lbs. Circa Early 20th Century. Measurements: 38.5" H x 25" W x 11.5" D.

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...

Antique Emmanuel Villanis "Saida" Pewter Clad Small Female Bust Sculpture Statue on Marble Base. Circa Early 20th Century. Measurements: 11" H x 7" W x 5" D.

A large early 19th century Italian statuary marble plaque depicting a reclining cherub or putto, formerly owned by the 1st Earl of Mountbatten. Expertly carved in deep relief, this p...

Pair of 16th Century Italian carved polychromed angelic sculptures.

Exceptional altarpiece representing the annunciation circa 1600, fruitwood rare altarpiece from the North of Portugal, unique due to its large size representing the scene of the annunciation, where the Archangel Gabriel (represented on the bottom left), sent by god (represented on the top left) announces to Marie (bottom right) that she will give birth to Jesus. Very good state of conservation, carved on three panels Dimension: Height 1m51 Width 1m03 Very nice colour and exceptional dimensions Restorations of use We placed the altarpiece on a red velvet base and a Spanish occasional...

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...

Wonderful signed patina bronze sculpture by Juan Clara Ayats on an onyx base of two girls playing with a chair, Spanish artist (1875-1958).   

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...

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...

Pair of patinated bronze figures after Giambologna French, late 19th Century Mercury: Height 84cm, width 17cm, depth 31cm Fortuna: Height 84.5cm, width 17cm, depth 29cm The patinated bronze figures are pictured in the nude, adopting active poses. Both stand on their tiptoes on one foot — Fortuna resting on a scrolling base, and Mercury on a gust of wind, produced by Zephyrus, the god of the western wind — and their other leg is flicked back. In both, one arm is raised, and the other rests at their side. The figures stand on cylindrical yellow marble bases, which are ringed with continuous relief panels, depicting cherubs at the helm of sailing ships, and navigating using globes...

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...

Torso sacred polychrome wooden sculpture of Christ - Late 16th century Umbro-Tuscan: A masterpiece of intense spirituality and high school A work of the highest sculptural class T...

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...

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...

Prologue: An Ancient Mastery the Wooden Sculpture We begin our journey through Gothic art by presenting a magnificent Late Gothic Female Wooden Sculpture from the Flemish 500s. This ...

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...

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 ...

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...

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...

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...

This sculpture has taken on a different character over time as it has weathered and the detailing has softened. Time has given it a pared down, minimalist quality juxtaposing the R...

This charming set of three antique German plaques are each cast from high quality 19th century iron, meaning that the detailing on them is of a very hig...