Renaissance Decorative Objects

The bust intricately carved from Italian Carrara marble with lifelike features including textured hair and shaped chest. The bust carved as Gaius Julius Caesar Augustus Octavius (lat...

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 ...

Large and impressive baluster ceramic vase by Faïencerie de GIEN, France, 1970s. Hand-painted majolica on earthenware. Stunning decor ! Height: 17.3"(44cm), Diameter : 9.9"(25cm). St...

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...

Florentine Black and Gold Gilded Frame, Italy. Fantastic art frame with incredible patina that would work with your favorite watercolor or oil painting. This frame certainly capture...

Stunning Italian Renaissance style Majolica Allegorical Serpent Handled Vase, Blue-crowned Ginori Mark, Model and Decoration No. 13-88 Provenance Celine Dion Jupiter, Florida Estate ...

16th century Italian carved and polychromed figure of a male saint or prophet with a wonderful presence. Shown holding an open book in his right hand with flames at his feet, mid-16t...

19th Century English Silvered Metal 'Worried Knight' Inkwell Add a touch of classical whimsy to your home or office with our tole figural knight inkwell. Made in later 19th century ...

The bust intricately carved from Italian Carrara marble with lifelike features including textured hair and shaped chest. The bust carved as Gaius Julius Caesar Augustus Octavius (lat...

Mid-Century Florentine Black and Gold Gilded Frame, Italy. Sturdy and beautiful, this frame is ready for a picture and certainly captures that European vibe.Fits 16x20 artwork

A pair of Renaissance style very ornate antique Italian terra cotta vases decorated with Caryatides and garlands, in good condition. The bodice of the urns is set on a square base. T...

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...

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...

Likely Italian or French, 18th century. An impressive and large mortar carved from a single block of white marble. Showing phenomenal antique patina - this piece was heavily used du...

Inkwell Calamelli workshop (attr.). Faenza, second half of the 16th century Height 4.33 in; length 8.07 in; depth 2.95 in (11 cm; 20.5 cm; 7.5 cm) Weight: 0.800 lb (363 g) State of conservation: some chipping to the top of the mask around the mouth. Handle glued, without any restorations; minor chips in some raised areas. This object has the shape of a foot wearing Greek-style footwear, as can be seen in some raised areas. The foot is anatomically modeled with bare toes, while the ankle is partially covered by the footwear. On the heel, there is a small circular handle to support the object. The mouth of the container is shaped like a mask. The interior, completely enameled, suggests that the piece was intended to be used as an inkwell or to contain some other liquid. The base, however, is not enamelled. The painted decoration, scant and brief, consists of rapid cobalt blue shading between the toes of the foot, with more precise emphasis on the nails. It is accompanied by yellow citrine accents to enhance the forms. The mask is painted with the tip of the brush, to accentuate the tense nature of the eyes and to accentuate their outline. Thin strokes of yellow-orange line the interior of the mouth. Since the Renaissance, this decoration has been referred to as "compendiaria" and it characterizes the period of production extending from the mid-16th century to approximately the middle of the following century. It significantly influenced tastes at the time. It evolved from the polychrome style "istoriato" and transformed into a new style that "summarized" (compendia), or condensed, the ornamentation of the works into a few colors, placing greater prominence on the shapes. It was often inspired by metal specimens. Since the Renaissance, this decoration has been referred to as "compendiaria" and it characterizes the period of production extending from the mid-16th century to approximately the middle of the following century. It significantly influenced tastes at the time. It evolved from the polychrome style "istoriato" and transformed into a new style that "summarized" (compendia), or condensed, the ornamentation of the works into a few colors, placing greater prominence on the shapes. It was often inspired by metal specimens. This artwork finds parallels in similar objects all characterized by this refined style and produced in the city of Faenza and other Italian centers starting from the mid-16th century. The closest comparable example in majolica is a foot acquired by the British Museum in 2011 (inv. 2011, 8008.1). This was previously published by Carmen Ravanelli Guidotti in 1996 and later by Dora Thornton in 2016 during the conference on Renaissance ceramics...

An Italian Antique 17th Century "Mecca" gilding Wood Hand carved Bear "Orso" Candelabra on Renaissance base. The base and the bear are gilded with Mecca, a silver gilt technique that...

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...

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 incredible and rare 15th century French carved limestone fragment depicting the back of a man's head with a wavy hair texture, and mounted on a c...

An antique ink stand, made of polished brass, completely in Renaissance style, with richly pieced scroll motifs. The inkwell has two removable ink we...

Square snuff box in 925/1000 sterling silver gold plated with perforated lid, embossed and engraved by hand, with fine round miniature diameter cm. 3.8 hand painted in tempera on veg...

This is an alabaster and marble bust of Saint Clare of Assisi. It depicts a young lady head/face covered with a cloak. She is looking down, very peacefully...

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...

A green patinated pedestal in Renaissance style. The column is made of carved wood, with gilded garlands, heads and panel-moldings. A beautiful piece of furniture to set up a large v...

PAIR OF PORTUGUESE COLUMNS 17th Century in chestnut wood with carvings, decorated with plant motifs, putties. Small flaws, traces of treated woodpeckers. Dim.: 141 x 22 cm. very go...

A beautiful bronze box, decorated in renaissance style with putti and decorative ornaments. The box is in good condition, key is missing. Beautiful colour and patina. Dimensions: ...

Huge Antique Silvered Metal Campaigns Urn Planter - Barbara Lockhart Estate

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 ...

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...

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...

"Orvieto", large plate, 2017, full-fire reduction faience earthenware 52 cm diameter, hand painted unique piece. Perfect décor for the wall or simply placed at the centre of a table...

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

A wonderful 16th century draped female torso in classical style. Made in France under Italian Renaissance influence this female torso is finely sculpted with great detail to the stol...

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...

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...

Pair of solid silver candlesticks made in Italy in San Marco (Venetian) style completely handmade. The base is round and hand-hammered with t...

An elegant and high quality German 19th century Renaissance st. Ormolu box, by Erhard and Söhne. This stunning box is raised on gargoyle head feet below the straight and mottled apro...

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

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: 14,8...

Beautiful weathered oak panel with an wonderful primitive angel figure. On the bottom of this angel you can also see two small eagle heads. France, circa 1550-1650, weathered, small...

Rare and important Italian white marble bust sculpture of Jesus Christ, C. 1850. A truly exceptionally carved marble relief of Holy Jesus Christ. ...

The statue of the Biblical figure, David, is considered to be one of Donatello's landmark works and a milestone in the Italian Renaissance. This statue is entirely made of silver dep...

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 ...

An impressive marble bust of "Rebecca at the Well" after Antonio Piazza (Italian 1875-1925). The sculpture is executed in a beautiful beige marble showcasing Rebekah with her arms ...

Stunning life-size carved wood sculpture of a man's head dating from circa 1700 in the south of Europe.  

Tuscan refectory style single hand carved rustic candlelabra with forged nail spike. Italian fruitwood.  Dimension: 46" H, 17" W

Grotesque vase, unique piece, 2017, glazed earthenware and gold, 22cm width x 60cm height Antonietta Mazzotti (Faenza, Italy) attended the Istituto d’Arte per la Ceramica in Faenza and opened her first workshop in her hometown taking part in group and solo exhibitions at international level. In 1976 she has transformed the neo-gothic greenhouse of Villa Emaldi in her workshop. Antonietta Mazzotti has worked for some of the most important international museums and has received several important recognitions worldwide. Her works have been featured in major Italian magazines of interior design and she has acquired international visibility being featured in major international press publications, such as The New York Times. She still lives and works at Villa Emaldi in Faenza where she continues her research on historical decor...

"Michelangelo prèt-a-porter " -Testone - Unique piece, 2017 glazed earthenware A Ring Thing collection A small chair, a miniature moon, a Philipp Stark's squeezer or the anatomic...

A fine pair of French candelabras, made of fire-gilt bronze, in Renaissance style. Each candlestick has three candleholders. This pair of candelabra's are original for a fire mantel....

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: ...

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

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

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...

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

This compelling Italian 19th century white glazed porcelain sculpture depicts ‘The Rape of the Sabines’, after a monumental work by the Renaissance artist, Giambologna (1529-1608) th...

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 ...

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...

Impressive pair of black patinated bronze vases in the style of Renaissance. Finely decorated handles with a satyr figure, over with a and body surrounded by bacchanal scenes. Exquis...

Large double patina bronze representing the Florentine Singer of the 15th century, signed P Dubois Fr The young and elegant boy, standing, plays and sings, leaning against a column:...

A Very Large Virgin and Child in walnut wood, carved in the round, trampling on Eve biting into the apple. The theme of the Virgin and Child is the most represented in all Christian...

This fine majolica centerpiece is made and hand-painted in Deruta, Italy. The Bowl recalls the ancient structure of the Greek cups that were used to mix wate...

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...

Bottega Vignoli, Borgia conical vase, 2022 hand painted majolica 17cm x 37cm height. Unique piece. Bottega Vignoli is a brand of artistic ceramics...

A very finely cast late 19 century Grand Tour bronze replica of the renowned statue of Bartolomeo Colleoni on horseback set on a verde antico marble base after the life sized bronze statue by the Renaissance sculptor Andrea Del Verrocchio...

A well-modelled, mid 19th century statuary white marble bust of Dante Alighieri, famed late 13th to early 14th century Italian philosopher, writer and poet. Originating from Italy, ...

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 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...

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.

PAIR OF CORBELS 19th century Portuguese brown wood Profuse decoration with plant motifs. Dim.: 38 x 31 cm good state

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...

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...

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