Renaissance Decorative Objects

Large walnut wood sculpture in the round, depicting Saint John in the position he usually has at the foot of Christ on the Cross. Beautifully expressive face, framed by expertly curl...

JESUS GOOD SHEPHERD Indo-Portuguese Sculpture, 17th Century in iv... partially painted and gilded. The baby Jesus, asleep, is depicted sitting cross-legged. Posterior dobby. Dim.: ...

This fine and imposing sculpture is an excellent example of 16th century Italian craftsmanship. The figure is stood on a raised, shaped rectangular base with a carved "dolphin" at th...

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...

Our Antique Italian Altar Candlestick was beautifully hand-carved and gilded round 200-years ago and has weathered the test of time exceptional w...

A handsome pair of French 19th century Renaissance st. Bronze and Rosso Antico marble Sphinx candlesticks. Each Egyptian Revival Bronze Sphinx candlestick is raised by a rectangular ...

Our Lady of Milk polychrome stucco relief scope of Benedetto da Maiano Florence, 16th century cm 66 x 18 x 43 From the 15th century onward, the pleasure of modeling terracotta...

Pair of neoclassical marble vases crater shape in ancient, late 18th century early 19th Some gaps

Winged angel head. Polychrome wood. Spanish school, 16th century. Carved and gilded wooden sculpture that shows a child's head with blonde, curly hair adorned with two wings. This ty...

Italian Memento Mori skull Marble North of Italy, 17th century H 9 x L 7 x P 14 cm At the turn of the 16th century, they were the height of fashi...

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

A stunning and highly detailed French 19th century Renaissance st. Ormolu jewelry box, signed A.B. Paris. This beautiful box is raised by four topie...

Stunning and rare pair of 16th century Italian candle bearing Angel candlesticks depicting male and a female figures from the renaissance period. Each figure is meticulously carved f...

This small hand-warming brazier from the Renaissance era in wrought iron is a handcrafted object of great value, handmade with care and precision. The origin of this object is attrib...

Hand-carved by a master-level craftsman in the 1500s, this wonderful wooden frame features a pierced grapevine frieze encircling a thin cavetto interior molding. The highly detailed ...

We are very pleased to offer a beautiful decorative box, circa the 1980s. This box is a true masterpiece, boasting the artistry and craftsmanship that Incolay stone...

Choir Mercy. Carved wood. Century XVI. Carved wooden Misericordia that surely belonged to a choir stall (see the upper flat part, which acts as a seat), decorated with a figurative ...

Small bronze ewer with Bacchus and dolphin figural handle, engraved solid oval centerpiece mounted on a circular base.

18th Century Ornamental Brass Alms Dish featuring an English coat of arms, measuring approximately 18.25 inches in diameter. This exquisite piece serve...

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 ...

Large brass circular alms dish having an ornate circular rim with hand tooled decoration, and a shaped dish center with raised flower decoration to the middle. Nuremberg 16th/17th ce...

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...

Exquisite 19th-century English ornamental brass alms dish, meticulously crafted to serve as a captivating vessel for collecting offerings from congrega...

An exceptional Renaissance style patinated and gilt bronze cherub base made in the early to mid 19th century. The figure holding a 10 inch diameter crystal ball. Beautiful quality ...

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...

Very beautiful pair of bronze candlesticks from the 17th century from France Very beautiful pair in bronze Claw feet Beautiful filming

Vintage Italian Renaissance Jacobean Style Turn Carved Oak Wood 18.5" Candlesticks a Pair. Circa Early to Mid 20th Century Measurements: 18.5" H x 6" Diameter.

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 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...

Italian Renaissance Style Gilt Bronze & Marble Putti on Crocodile Candlestick Italy, Late 19th Century Behold the elegance of this Italian Renaissance...

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 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: ...

Sculpture of Mother Mary with the Child Jesus. Mary has the child on her right hand. Jesus makes a blessing gesture and wears a small globe. ( a sign off His power over the world) Mo...

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....

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 ...

A high quality pair of French 19th century Renaissance st. patinated Bronze, Ormolu, black Belgium and Rosso Antico marble ewers. The pair of urns are raised by square Belgium marble...

Spanish Renaissance candlestick in brass circa 1600 Beautiful patina and in very good condition

Male head. Carved stone. Century XVI. Carved stone relief showing a male face turned to the right. It is necessary to highlight both the quality of the fac...

The very expressive Virgin, in a strictly upright posture, carries the child Jesus on her (damaged) left arm. In her right hand, she holds the shaft of a scepter. She looks at the ob...

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...

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...

Attributed to Alfredo Castellani Paperknife Patinated Bronze & Marble Italy, ca. 1880s ABOUT These Castellani paper cutters, paperknives or lette...

A terracotta bust "Ecce Homo" Florence, 15th century 53 x 44 x 31 cm

A very richly decorated 19th Century renaissance style gilt bronze and marble Tazza by French artist Louis Emile Cana. Top dish decorated with multiple embossed wild life birds and a...

This is a pair of patinated bronze cups with covers. A repousse of ivy leaves garland decorates the center of the cups’ body. Above and below it, there are a chain of beads adorning ...

Large round pillbox in 925/1000 sterling silver gold plated with fine fire-enamelled engraving in two colours, in Florentine Renaissance style. Diameter cm. 5 cm high. 2. Weight gr. ...

Italian Cantagalli Faience Polychrome Serving Platter, 19th century As found Italian Serving platter from Cantagalli. Wonderful example of antiqu...

A vintage Italian majolica ceramic three piece vessel garniture set, signed Leona Italia. Hand-crafted and hand-painted by highly skilled artisans in Tuscany, medieval Renaissance t...

This pair of antique covered urns are signed by and unknown maker, and presumed to have originated from France and date to approximately 1880 and d...

A stunning pair of French 19th century Renaissance st. Ormolu and Crystal vases. The pair of vases are raised on triangular Ormolu bases with central rosettes. The base above is deco...

RENAISSANCE COAT OF ARMS in White Carrara Marble Italy 17th Century finely carved with roccaille inside reserve crowned heraldic coat of arms Ital...

Old frame with meerschaum hand-carved Madonna and child, 1880 France Statue in Oval Frame This is a beautiful black frame made around 1880 with a beautiful carving in meerschaum (a...

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...

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...

1900-1920s pair of majolica vases by Mengaroni, Pesaro, Italy. Decorated in the Renaissance manner with white tracery & multicolored florets on light blue ground with mustard borders...

Continental, early 20th century. A antique oval box made of brass and other metals. The box has a basketweave pattern to the exterior and an affixed basalt plaque to the top. The pl...

A wonderful original piece of the Renaissance Period - a carved wooden polychromed figure / statue of Saint Francis. This piece was found in France but most probably originated in 1...

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...