Renaissance Decorative Objects

Pair of gothic revival carved cherubs circa 1970. Good quality pair of hardwood cherubs which are coloured to match walnut. Each figure seated on a plinth base of carved rock, tree...

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

Vintage Polychrome Plaster Bust of Ippolita Maria Sforza in the Renaissance Style After Francesco Laurana. Circa Early 20th Century. Measurements: 19" H x 19" W x 9" D.

"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.

Shaped box in 925/1000 sterling silver gold plated with painted fire enamels like lapis lazuli stone and beautiful miniature hand painted by the painter Beatrice Mellana reproducing ...

Unique and precious sculpture in carved white marble, likely depicting Aeolus, the god of the wind. The sculpture originated as a fountain mask, as evidenced by the opening in the mo...

Acetre. Bronze. Century XVI. Bronze piece that has a circular foot, and a circular body, with an outwardly hollowed mouth at the top, and a decoration in relief in this last area o...

19th century Renaissance marble relief. The relief is carved to the Renaissance taste and is in very good condition. It is framed in a later frame ...

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...

Masterful pair of Obelisks (H 93 cm) in exquisite Malachite with a 20th-century Carrara marble base. Elegant gilded bronze friezes. The pair is from a Venetian private collection, ...

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

Sea monster Carrara marble mouth fountain Italy, late 16th century It measures 13.8 x 31.5 x 18.9 in (35 x 80 x 48 cm) State of conservation: some small evident gaps and widespread signs of wear due to outdoor exposure. The gray marks crossing it do not come from restoration, but are rather the natural veins of the marble. This work has some morphological characteristics typically associated with the iconography of the sea monster: an elongated muzzle, sharp teeth, protruding eyes, elongated ears, and a coiled serpent's tail. An in-depth series of studies on artistic depictions of the sea monster attempted to verify how this symbol evolved in antiquity in the European and Mediterranean contexts and how it gradually changed its image and function over time. The iconography itself is mutable and imaginative and its history is rich with cultural and artistic exchange, as well as the overlapping of ideas. This occurred so much that it is difficult to accurately pinpoint the "types" that satisfactorily represent its various developments. However, we can try to summarize the main figures, starting from the biblical Leviathan and the marine creature that swallowed Jonah (in the Christian version, this figure was to become a whale or a "big fish", the “ketos mega”, translation of the Hebrew “dag gadol”). Other specimens ranged from the dragons mentioned in the Iliad (which were winged and had legs) to "ketos” (also from Greek mythology), the terrifying being from whose Latinized name (“cetus”) derives the word "cetacean". See J. Boardman, “Very Like a Whale” - Classical Sea Monsters, in Monsters and Demons in the Ancient and Medieval Worlds, in Papers presented in Honor of Edith Porada, Mainz am Rhein 1987, pp. 73-84). In Italy the monster underwent yet further variations: it can be found in Etruscan art on the front of some sarcophagi representing the companion of souls, while among the Romans we find the “Pistrice” (cited by Plinio in Naturalis Historia PLIN., Nat., II 9, 8 and by Virgilio in Eneide: VERG., Aen., III, 427), which appeared in the shape of a stylized hippocampus or a very large monstrous cetacean and evolved into a hideous being with a dragon's head and long webbed fins. During the Middle Ages, the sea monster was the object of new transformations: at this time, it is often winged, the head is stretched like a crocodile, the front legs are often very sharp fins - sometimes real paws - until the image merges with dragons, the typical figures of medieval visionary spirituality widely found throughout Europe (on this topic and much more, see: Baltrušaitis, J., Il Medioevo fantastico. Antichità ed esotismi nell’arte gotica, Gli Adelphi 1997). In Italy during the 15th and 16th centuries, the revival of classicism - representative of the humanistic and Renaissance periods - led to a different reading of these "creatures". Indeed, the sea monster was also to find widespread use as an isolated decorative motif, especially in numerous fountains and sculptures where dolphins or sea monsters were used as a characterizing element linked to water (on this theme see: Chet Van Duzer, Sea Monsters on Medieval and Renaissance Maps, London, The British library, 2013). From the morphological point of view, the "sea monsters" of this period are mostly depicted as hybrid figures, in which the body of a mythological or real being (a hippocampus, a sea snake, a dolphin), is joined to a head with a rather indistinct appearance. It was usually characterized by large upright ears, an elongated snout, sharp teeth and globular, protruding eyes; a complex and indefinite figure, both from the symbolic point of view and from that of its genesis. The work we are examining is placed as a cross between the medieval sea serpent and the Renaissance dolphin, with stylistic features which recall the snake as often used in heraldry (such as the "snake" depicted in the coat of arms of the Visconti - the lords and then dukes of Milan between 1277 and 1447 - and which, for some, may be derived from the representations of the “Pistrice” that swallowed Jonah). In the search for sources, Renaissance cartography and in particular woodcuts should not be neglected. See for example the monsters of Olaus Magnus, from the editions of the “Historia de gentibus septentrionalibus” (“History of the peoples of the north”) and the natural histories of Conrad Gesner, Ulisse...

Probably a fragment of a French church paneling, this hand carved wooden candle sconce from France features iron candelabra that holds three candles. The wooden is carved with the im...

Antique French Renaissance Don Juan & Don Cesar Spelter Metal "Cavaliers" Sculptures - 2 Pcs. Circa Late 19th Century. Measurements: 21" H x 8" W x 6" D.

An elegant and high quality French 19th century Renaissance st. patinated Bronze and Ormolu centerpiece/urn. This beautifully detailed urn is raised by a circular mottled and stepped...

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...

This 19th-century plaster foot sculpture is an imposing and impressive work of art. With dimensions of 28 inches in width, 15 inches in depth, and 22 inches in height, its colossal s...

Italy, circa 1680 A monumental and finely carved wooden sculpture depicting Saint James the Greater (Santiago de Compostela), created in Italy around 1680. Executed during the Baroq...

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...

"Ferdinando Vichi", Florence 1875-1945. Romantic figure of sitting woman. Made in marble, sitting on a chair made of bronze, original pedestal of green, Italian marble. Sign. Vichi. Ca. in 1900. (In two pieces) Ferdinando Vichi (1875-1945) was a central figure in the production of Florentine sculpture...

PAIR of Italian Renaissance style (19th Cent) polychromed life size kneeling figures (similar matching pair with wings #034018A)

Embriachi workshop marquetry casket Northern Italy, 15th century Alla certosina inlays (bone, stained bone, pewter and wood) H 28.2 x W 18 x D 14 cm This beautiful casket of rectangular form is richly decorated with the characteristic geometric patterns of the Embriachi style. The intricate geometric patterns are fashioned by juxtaposing lighter and darker pieces of wood, (colored) bone, horn and pewter. The lid and base are framed by a broad band of horn. When ivory became scarce in Europe due to disrupted trade routes, bone was substituted. The attention to Symmetry and balance created an harmonious visual effect Enhancing the overall aesthetic appeal of the casket. The application of geometrical motifs is in Italy known as marquetry ‘alla Certosina’, named after the Certosina Church in Pavia with its famous altarpiece decorated in this way. This is ‘intarsia technique’, a term derived from the Arabic 'tarsi', which means ‘incrustation' recalling ancient mosaics made from various materials. These geometric elements not only enhance the aesthetic appeal of the caskets but also demonstrate the versatility and skill of the artisans in creating multifaceted works of art. ‘Alla Certosina’ became famous through the Northern Italian Embriachi family who achieved a particularly high standard in working in this technique. Venice in particular was known for the production of these luxurious boxes. The caskets, hexagonal or rectangular, surmounted by a lid decorated in several registers constitute the secular, albeit equally renowned component of the workshop’s production, in addition to mirror frames and various everyday objects. The method of fabrication of those objects was based on two concepts that underlay pre-industrial production: standardization and modularity, thanks to a distribution of skills according to the different phases of fabrication. even the realization of the marquetry motifs (in the form of ingots from which portions of the desired size were cut) were therefore entrusted to various specialized craftsmen, as were the assembly phase. Today better known thanks to the extensive research work recently carried out by Michele Tomasi, this workshop owes its name to its founder and owner, the Florentine Baldassare Ubriachi (or degli Embriachi), a merchant and banker established in the Tuscan capital before he settled in Venice in 1395. Together with sculptor Giovanni di Jacopo, who directed the workshop, from the last years of the fourteenth century, Baldassare oversaw a production that was truly original, and still easily recognizable today, comprising monumental altarpieces and various objects, primarily triptychs and caskets. The precise location of the workshop is unknown, except that it originated in Florence and in ca. 1431 there was apparently a workshop in Venice, in the area of S Luca. They employed local workers specializing in 'certosina' (inlay of stained woods, bone and horn), and the workshop produced items carved in bone (usually horse or ox) with wood and bone marquetry. The geometric decoration of Embriachi caskets reflects the artistic complexity and attention to detail that characterized their work. this inlaid casket is a testament to the skill and artistry of the Embriachi family and serves as a stunning example of the decorative arts of the late Middle Ages. Related Literature : E. Berger, Prunk-Kassetten: Europäischen Meisterwerke aus acht Jahrhunderten / Ornamental Caskets...

Black coral sea fan embellished with tourmaline and a showy quartz druzy shell specimen mounted on a 19th-Century French bronze doré fragment. This is a lovely objet d'art to add to ...

A dramatic patinated bronze statue depicting the mortal fight between Charles Martel a Medieval Frankish King over the Muslim KIng of the Saracens at ...

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...

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

Beautifully colored in brilliant blue and yellow that depict a crest.

Rare pair of late 19th-century French vases in the style of Émaux de Longwy, retailed by the prestigious Maison A. Giroux, Paris. Each vase features a deep cobalt-blue glaze with rai...

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

Red coral branch embellished with natural emeralds mounted on a 19th-Century French bronze doré fragment. This is a lovely objet d'art to add to your collection or cabinet. During t...

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...

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

Refined and unique hand-forged wrought iron candle holder. In the past, it was used as a "walking candle holder" for moving between rooms in the house, thanks to its practical base t...

16th Century Italian carved-wood and polychromed sculpture of Jesus Christ the conqueror raising the flag after his resurrection.

Italian Renaissance style brass urn with center scroll & medallion and flair top (19/20th Cent.) (similar to #008526)

Antique French Renaissance "Rebecca at the Wall" Spelter Metal Large Statue Sculpture weighing approx. 110 lbs. Circa Early 20th Century. Measurements: 38.5" H x 25" W x 11.5" D.

Very rare wood, iron and sharkskin domed casket on ball feet. Ornamented with iron strap work and double hasp lock. Silk damask interior. Ex collection of...

Hand-carved Italian Corpus Christi with traces of polychromy. This sculpture reflects the transition from Gothic to Renaissance style.

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 ...

Rare and valuable ebony-plated domed case with rich gilt bronze decoration and central jasper medallion. Italian Renaissance manufacture from the early 17th century. The production...

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...

An amazing frosted acrylic sculpture of the Virgin Mary by New Renaissance Art. This was cast from the master made from the Vatican's mold of the original. The mold was created under the supervision of the Vatican's own artisans. This is piece is stamped on the side (molded into the acrylic) with the name New Renaissance Art, the head of David...

Italian Renaissance painted pine life size figure of religious scholar holding book (17/18th Cent) Replacement finger

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 ...

Italian Renaissance style (19th Cent) bronze aladdin lamp with 2 burners and scroll relief with cupid and bird finial.

Black coral sea fan embellished with green tourmaline and a showy quartz druzy shell specimen mounted on a 19th-Century French bronze doré fragment. This is a lovely objet d'art to a...

One-of-a-kind natural mineral specimen sculpture, entitled "Venice Rising," created from an 18th-century Italian patinated parcel-giltwood candlestick and embellished with quartz, mu...

Pair of Renaissance Alabaster Columns Attributed to Cornelis Floris de Vriendt Flemish, Mid-16th Century 
Alabaster 
H: 27 cm; D: 10 cm This refined pair of all’antica alabaster col...

Impressive Pair of Portuguese Seraphim end 17th began1 8th Century Sculptures in molded, polychrome and gilded clay. The figures are represented standing. Set on bases. Normal d...

Renaissance Fragment: The Grotesque Candelabrum
 Italy, 16th century
 Marble 29 x 21 x 12,5 cm This fragment of a white marble pilaster constitutes a remarkable testament to the orn...

Black coral sea fan 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 A...

Christ
 Umbria, Orvieto?
 Second half of the 15th century
 77 x 16.5 cm

A stunning and high quality pair of French 19th century Renaissance st. ormolu six arm candelabras signed F. Barbedienne. Each candelabra is raised by a triangular base with concave ...

In this listing you will find a striking plaster bust after Michelangelo’s celebrated Dying Slave, translating one of the great masterpieces of Renaissance sculpture into an intimate...

Tall Baluster Ceramic Vase by Faïencerie de Gien, France, 1970s – Hand-Painted Majolica A tall and impressive baluster-form ceramic vase by the celebrated Faïencerie de Gien, France...

Carved overall with arabesques and scrolls, the lid centering a crowned armorial. César Bagard was born in Nancy in 1620. Most of the work known to have been carved by him was comp...

17th Century Italian polychromed and gold gilded on wood panel Sienese style painting of the Madonna Enthroned with the child and two adoring angels behind them. The halos are beautifully adorned with punch work. She is framed by a hand-carved gold gilded and velvet lined frame and sitting on a hand-carved matching base. The piece is mounted on a Lucite panel and framed with a contemporary hand-finished wood molding.

Lovely limed oak tazza English 1920s. The piece has been recently limed to enhance the beautiful grain in the oak. Free UK shipping  

Antique Tiffany & Co number 2114 bronze sculpture portraying a scene from Quentin Durward. Written by Walter Scott and published in 1823, Quentin Durward is the story of a young Scot...

Decorate a study or a man's office with this elegant antique plaque. Crafted in France circa 1880, the wall decor features a coat of arms with a medieval royal knight...