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...

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 ...

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...

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 ...

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

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...

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...

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...

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 ...

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

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...

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...

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-...

18th Century Italian Majolica Albarello Pharmacy Jar. Jar is in a cylindrical shape with flared rim and foot. Jar features blue and white pattern with the word "Charitas" in an oval ...

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...

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.

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...

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: ...

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...

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...

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...

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...

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...

A remarkable large-scale plaster relief sculpture cast after the marble reliefs Luca della Robbia carved for the Cantoria Frieze of Santa Maria del Fiore, Florence in 1431–1438 title...

Highly decorated Renaissance style Belgium solid brass jewelry trinket box.

Giorgio Salimbeni Gold-Plated Sterling Silver and Enamel Photo Frame, Florence, 1970 Elegant rectangular photo frame in 925/1000 sterling silver, gold plated, and richly decorated wi...

A unique pair of marble obelisks, 19th century Magnificent sculptures, base and obelisk in red French marble, lions in black Belgian marble and Nembro Giallo marble. Spectacular fo...

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 ...

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

A Lovely Pair of Medici Bronze Lions Lovely Patina and Definition C20th

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...

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...

Middle age Gothic European Renaissance style for the jewelry box in steel with golden parts. We recognize middle age figures all around and on the top of the box and the renaissance architectural...

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...

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...

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...

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...

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 ...

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 ...

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...

Lovely limed oak plate or dish. English 1920s. The piece has been recently limed to enhance the beautiful grain in the oak.

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

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 ...

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...

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...

These Beautiful Italian 18th Century Black & White Engravings on Laid Paper Feature the Portrait of Female Statues, these pieces have been professionally Framed using all new Mat...

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

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...

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...

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...

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...

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

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...