Renaissance Decorative Objects

Classical style for this large Majolica jardiniere or table centre signed Minton and dated 1876 cherubs handles and masks on each side of Renaissance Revival. On the middle of 19th c...

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

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...

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...

A substantial Sicilian pilgrim flask, attributed to Caltagirone and dated to the seventeenth century, fashioned in tin-glazed earthenware with hand-painted cobalt-blue decoration. It...

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...

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...

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 ...

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...

Rectangular shaped photo frame in gold-plated 925/1000 sterling silver with translucent fired enamel on guilloché with borders in the French Empire Louis XVI style. External dimensio...

17th Century Italian Ebonized Inlaid Milanese Table Cabinet. Cabinet is an exceptional rectangular box-form cabinet veneered in richly toned ebony and rosewood, lavishly inlaid with ...

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...

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...

17th Century pair of Abruzzo Maiolica Albarelli lamps. Converted from a very fine and rare pair of waisted cylindrical form Italian maiolica albarelli from the Abruzzo region, decor...

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...

Elegant bronze mortar from the 17 century from Italy dated 1630. Really rare mortar due to his big size. In very good condition and beautiful patina.

17th century heavy copper bowls with ladle covered with tin, handmade fascinating, antique objects for collectors. The bowl is widely engraved by hand.

This is a hand-painted large ceramic Tuscan urn in the Italian Renaissance style, having a Medici crest on the front with beautiful, rich Tuscan traditional patterns throughout repre...

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...

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...

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...

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

Jewelry box in 925 sterling silver. The body of the box is rectangular and shaped which makes its line light and harmonious. The hinged lid is hand-engraved with volutes and Florentine lilies...

Antique Lusterweibchen Depicting Lucretia, Germany 1900 An impressive antique chandelier depicting Saint Lucretia, the Roman heroine who turns the dagger against herself and commits...

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...

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...

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...

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

A commanding and decoratively rich pair of hand-modeled and hand-painted majolica portrait busts depicting a male and female figure in period costume, each resting on a turned socle ...

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...

Photo frame in 925/1000 sterling silver gold plated with painted fired enamels resembling lapis lazuli stone. Shape taken from the panels of the North Door of the Baptistery of the F...

English Renaissance style trunk-shaped wood box on wheels with criss-cross iron bands and brass studs

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...

Very good pair of 16th century Italian bronze candlesticks of unusually bold design, turned balustrade form and good scale. One pricket lacking.      

An eye caching figural sculpture of Saint George and the Dragon, After Antoine Louis Barye. As the legend goes, Saint George—a soldier venerated in Christianity—defeats a dragon. The...

Italian Renaissance style wrought iron floor standing candle pricket on 3 legs.

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...

Highly decorated Renaissance style Belgium solid brass jewelry trinket box.

Majolica amphora made and painted by hand, following the original Renaissance painting technique. This sumptuous vase is characterized by the elegant presence of naturalistic ornamen...

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...

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

An exceptional and highly decorative pair of Renaissance cassetta frames, attributed to Siena, Tuscany, dating to the late 16th century. Each frame is constructed in carved wood and...

An exceptional and deeply moving 15th-century French Gothic (Late Medieval / Haute Époque) stone sculpture fully carved in the round, depicting the Madonna and Child. This rare and a...

For your consideration, a decorative plate vintage medieval knights metal dish plate ashtray FIA Lyon France. Stainless steel. Stamped by maker. Dimensions: 1.13" H x 5.13" in diame...

Antique Lusterweibchen of a Patrician Lady, Germany 1900 A finely hand-carved and polychrome painted wooden Lüsterweibchen depicting a seated patrician lady. She wears a green long-...

Large Pair of Cast Iron Seated Dogs Lovely Detail

19th century Italian Renaissance style octagonal box with burl wood and veneer fruit wood and dyed wood inlay. Florence, Italy circa 1890's. This lovely small box is decorated with w...

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....

Pottery was an important part of daily living in ancient Rome. As Romans used earthenware for most purposes, a huge quantity of utensils - cooking pots, amphorae and fine wares were ...

19th century Italian frame in Renaissance style wood marquetry. 19th century Italian Renaissance style wood marquetry frame. Frame: H: 25.5cm, W: 20cm, D: 1cm Interior view: H: 14,...

This exquisite work of art was created circa 1836-1840 in France by the acclaimed French gold and silversmith, Jean-Valentin Morel. Using only the finest of materials and with exceptional attention to detail, this magnificent piece is without doubt one of the finest creations within the field of decorative arts in the 19th century. The body of the cup has been crafted from the pinky-red and orange gemstone, agate, and fitted with gold and silver-gilt mounts, which have, in some places, been jewelled and enamelled. Morel specialized in high quality hard stone cups...

A glorious pair of Italian giltwood altar candlesticks from the 1500’s; equally impressive is that this hand-carved pair have stayed together for over 400 years. Gold and silver gilt...

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...

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...

Polychrome carved wooden sculpture from the late 16th century, Germany. Sculpture depicting Saint John the Baptist, made of polychrome wood from the late 16th century, Germany; poly...

Renaissance period painted and giltwood candle holder or pricket - featuring four elaborately hand carved winged cherubs beneath an octogonal platform with the original hand forged i...

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

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 ...