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.

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

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 ...

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 ...

This statue/sculpture represents Mercury or Hermes, in relations to the Roman or Greek denomination of the gods. The original was sculpted by Giambologna in the 19th century. This br...

This striking Renaissance style carved gilt wood sculpture depicts a "grotesque" dolphin surmounted on a wood plinth base. The sculpture is modeled after classical Greco-Roman descr...

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...

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-...

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

An extraordinarily rare and visually striking 16th-century Venetian iron treasure coffer, showcasing the height of Renaissance artistry and engineering. Crafted in the early to mid-1...

This rare Venetian frame entirely carved in high-relief shows a rich decor of scrolls, garlands, daisy flowers and thistles. At the four corners of the frame are depicted large acant...

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...

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...

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 ...

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...

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 ...

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,...

These Renaissance style antique French patinated bronze ewers depict very busy and mischievous Bacchanalian putti at play. A cherub sits atop the handle holding an item in his hands....

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...

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...

This exceptional 15th-century Venetian painted casket is a rare example of early decorative art from the late Medieval to early Renaissance period in the Republic of Venice, Italy. H...

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: ...

By IN Ceramique Handmade White Ceramic Vase The DAL model with motifs based on abstract paintings that are applied to the vase before its first firing, by using a 'dripping' techni...

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...

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...

This beautiful 19th century Florentine rectangular lidded box is entirely decorated in the round with all typical Renaissance Italian patterns. The whi...

Big Majolica vase Ginori Italy, 1850-1890 Very good codiction Difetto di cottura sotto la base (vedere fotografia)

"La Pieta di Michelangelo" Patinated Bronze Sculpture, signed "Vally" to base, atop a black marble plinth. Overall: 10" H x 8" W x 6" D. Provenance: From a Brooklyn Estate.

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 ...

Manopan crank musical organ. 19th Century. It is complete but it does not work, it needs to be revised. It has 6 cards with spanish songs of the time. G...

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...

18th Century or Older Italian Renaissance Style Carved Verdigris Marble Table Box  This exquisite 18th-century or older carved Verdigris marble table box epitomizes Italian Renaissa...

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

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 truly magnificent Italian Renaissance gold gilded hand carved frame. Amazing craftsmanship and a very good condition for its age. Painting which fits inside (painting opening), di...

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...

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

In the past, this type of large toilet service would have been an essential luxury for an elite woman. They were used to store makeup, perfume, pins, ribbons and anything else a lady needed to dress for High Society. Placed in a prominent position in a lady’s bedroom, the service would have signified its owner’s wealth and high status. This nine-piece service is of Austro-Hungarian origin, being created in Vienna in the late 19th century. The service includes a double sided table mirror...

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...

Stunning pair of large polychrome marble obelisks with various inlays, 215 cm high. First of all, their dimensions are noteworthy: they are 215 cm tall! Origin: Venice, private coll...

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 ...

Likely Portugese heavily potted with copper and cream tones. Globular form with small loop ring handles and Alhambresque palette decoration. Conforming raised foot.

Highly decorated Renaissance style Belgium solid brass jewelry trinket box.

Introducing Renaissance, a unique champagne cover from our K-OVER Works of Art Collection. This exquisite piece draws inspiration from the ornate Florentine style of the Medici fami...

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 ...

Meticulously carved from beechwood, this cherub pair recalls the iconic Renaissance style of the fifteenth and sixteenth centuries. Better recognized by their Italian name, putti—the singular putto refers to the Latin putus, meaning “boy” or “child”—these types of figures often recur in religious artwork as symbols of God...

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...

A beautiful and substantial marble decorative object or paperweight with brass putti and grapevine relief design, in the Renaissance style, circa mid to late-20th century. This piece...

A rather unique painted chest from Europe, this table coffer was commissioned in 1915. The right side (when viewing from the front) is dated, with the numbers flanking a springing ra...

An important early antique Italian Renaissance table box, handcrafted in Northern Italy in the 17th/18th century, cassone chest form, richly inlaid, the top and front panel with fruitwood banding framing...

Large, finely carved marble coat of arms surmounted by a knight's helmet and surrounded by rich, harmoniously curved mantling. The shield is composed of 3 fortified towers, a fleur-...

A handsome Continental rectangular iron-bound bullion (or strong) box or coffer chest of patinated walnut from the Renaissance 17th century, featuring a paneled exterior with decorat...

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...

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

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...

These two busts, monumental in both their size and artistry, come from the renowned Italian majolica workshop of the famed Angelo Minghetti. Depicted are the Renaissance political an...

Head David Sculpture In Antique Bronze Finish On Black Marble Base The Head David sculpture is a sophisticated decorative object featuring a rich antique bronze finish that evokes a...

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