Renaissance Decorative Objects

Exceptional pair of aigles of the 16th century of Italy Superbe pair of wooden sculpted aigles from the Italian Renaissance. Very Fine and delicate sculpture The pair of eagles se...

Wonderful stoneware Jug from the 17th century. In good condition. A perfect item for the Wabi Sabi, Natural looking interiors.

A pair of 16th Century Italian wood carved figures of Saint Ambrose Archbishop of Milan and Saint Augustine Bishop of Hippo, two of the four original Doc...

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...

This is a very rare Cantagalli Italian tin glazed earthenware plate/plaque in beautiful hand painted polychrome colors. It is a scene of a little boy or cherub playing on a drum. It ...

Impressive realistic plaster statue of a muscular nude male that sits on top of a square block base. The elegant design shows intricate detail and qualit...

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 ...

PAIR of Italian Renaissance-style (17th Century) dark green painted large floor standing altar style candlesticks with gilt carved floral and vine trim supported on base with 3 griff...

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...

We are delighted to present you with this rare pair of ceramic albarello drug jars traditionally used for storing herbs, ointments, and medicines. They originate from the 18th centur...

Formerly known as the "Master of Magione", Nero Alberti da Sansepolcro established a workshop around Perugia in the mid 16th century specializing in the production of devotional imag...

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

Pair of Renaissance style vermeil perfume bottles Continental, 19th century Measures: Height 20cm, diameter 6.5cm This beautiful pair of perfume bottles...

In Medieval Europe and even more during the early 16th century fantastic beasts could be found in Bestiaries, a literary genre close to poetry. A bestiary used the characteristics of...

Pair of Italian Renaissance style (19th Century) carved oak large angels with guitars.  

A rare Dutch Majolica plate with a decoration of a tulip. Northern Netherlands, probably made in the city of Rotterdam. Made 1620 - 1640 Dutch majo...

Rare Bronzes Depicting two Figures in Turkish Attire Possibly Suleiman the Magnificent at two different ages bronzes, alabaster bases Venice, early 17th century 19,5 x 6 x 5 cm These two rare bronze statuettes represent two figures dressed in elaborate "Turkish" attire. They are mounted on alabaster bases with bronze reliefs—one featuring the winged lion of Venice, and the other possibly symbolizing Turkey with a wolf depiction. One figure wears a grand külah, a spherical turban with a cone top, signifying royal authority, while the other has a wrapped turban, denoting rank and religious identity. Their garments are richly detailed with intricate engravings, suggesting luxurious fabrics of the Ottoman court. The statuettes may represent Suleiman the Magnificent at two different stages of life, as both young and old. The sultan depicted alongside the winged lion corresponds to a description from a Venetian delegate in 1534, when Suleiman was 43. At that time, he had conquered Iraq from the Safavids and achieved a decisive victory over the Papal fleet at the Battle of Preveza. He was described as having large eyes, an aquiline nose, and long red mustaches—traits visible in Cristofano dell'Altissimo’s portrait of Suleiman in the Uffizi Gallery in Florence. Unlike Mehmed II, who commissioned portraits by European artists for diplomatic purposes, Suleiman did not directly order such representations. Instead, his likeness spread through works by artists like Albrecht Dürer, based on sketches made by diplomats. Following his capture of Belgrade in 1521, his victory over Hungary in 1526, and his siege of Vienna...

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...

Large Pair of English Renaissance Repousse Brass Candlesticks. Seventeenth century English embossed brass candlesticks from about 1650. This rare pair of beautifully created candle ...

A lovely and high quality pair of French 19th century Belle Epoque Period Renaissance st. Marble, patinated Bronze and Ormolu ewers. Each most elegant ewers/urn is raised by a Rouge ...

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...

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

16th Century, Pair of Italian Lacquered and Gilt Wood Sculptures Torch Holders The pair of sculptures, in finely carved wood, lacquered and gilded, was born as a torch holder, and ...

Charming collection of 4 vintage European bronze, brass and marble pharmacy and herbalist mortars ranging in age from the 17th-20th century. Each shows evidence of working use. Rangi...

Base of a carved wooden candelabrum, polychrome and gilded; cross painted on both sides. Umbria or Tuscany, 16th century 136 x 43,5 x 30 cm (The cross and the base of the candelabrum were later assembled) The base of the candelabrum is intricately carved and adorned with polychrome and gilded finishes. The shafts take on the shape of balusters reminiscent of ancient columns, feature ornate foliage decorations, garlands and winged cherub faces. The feet are crafted in the likeness of lion paws. The base is further embellished with depictions of four saint martyrs, among them Saint Barbara and Saint Catherine of Alexandria. The plasticity of the figures, outlined with strong contour lines, the clear and vibrant colors, are stylistic elements linked to the Umbrian tradition of the sixteenth century.The precisely defined and elegant drawing, along with the clear color palette applied with refined chiaroscuro modulations, became the signature of a style that would leave a lasting mark on the era to come. This is exemplified by a preference for vibrant, multicolored images, accentuated in this case by the use of red and pink in the saint's attire. A notable addition, introduced later, is a polylobed cross painted on both sides. On one side, the Crucifixion is vividly portrayed:The treatment of the corpus itself is in line with High Medieval practice, emphasizing pathos by showing Jesus dead, his arms sagging from the weight of the body. The upper section displaying a pelican pecks at her breast to feed her young with her own blood; a symbol of the sacrifice of Christ on the cross whose body and blood similarly nourishes the celebrant during Mass. The lower part depicts Golgotha. On the reverse side, the Resurrection is artistically presented in a Renaissance iconography, reminiscent of the renowned composition painted by Piero della Francesca, now housed in the Civic Museum of Sansepolcro. In terms of composition, with the frontal depiction of Christ holding the banner, this motif became particularly widespread in central Italy, spanning from Tuscany to Umbria throughout the 16th century.. The double-sided construction suggests that it may also have been carried in liturgical processions. In Umbria from the 14th century, the use of portable crosses painted on both sides had become a widespread practice, aimed at satisfying the monastic clientele that had significantly increased following the establishment of new religious communities. The earliest surviving Tuscan painted crucifix represent Christ as Christus Triumphans, or the “Triumphant Christ” with his head up and eyes open. This form was supplanted in the 13th century with the Christus Patiens, or “Suffering Christ” type who is shown often with his head fallen on his shoulder and his eyes closed, as In our cross. The iconography of the suffering Christ appears to have developed out of a new interest in Christ’s human nature, the development of the feast of Corpus Christi and with increased importance given to the Eucharist. The process of humanizing the figure of Christ reaches its peak with the abandonment of all the previous expressive conventions in favor of more realistic details we can observe in this Crucifix, such as the swollen belly, the arms stretched to the limit of muscle tearing, the body falling heavily forward, the abundant blood on the wounds, and the cross firmly embedded in the rock of Calvary. It's worth noting that Renaissance candelabra...

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...

Pair of Italian Renaissance style green patinated bronze figure of horse walking (from a series of 1,000 titled: "Cavalli di San Marco II", signed by L...

Calzetta Da Ravenna (Attivo Tra IL 1496 E IL 1543 circa) Severo. Circle of. Candlestick depicting a kneeling satyr. The model of the present bronze is the ""kneeling satyr"" attributed to Severo Calzetta da Ravenna, one of the main Paduan bronze sculptors of the first half of the 16th century, whose figure was rediscovered by Planiscig in 1935 (L. Planiscig, ""Severo da Ravenna...

Chest. Carved wood, metal. Spanish school, 16th century. Rectangular casket with a flat lid decorated on the outside with a series of figurative reliefs in a symmetrical arrangemen...

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...

15th century Italian carved wood, polychromed and gold gilded sculptures of four Pillars of the Christian Faith (Saint Peter, Saint Paul, Saint Luke, Saint Matthew).

Antique Emmanuel Villanis "Saida" Pewter Clad Small Female Bust Sculpture Statue on Marble Base. Circa Early 20th Century. Measurements: 11" H x 7" W x 5" D.

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...

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...

Pair of 19th Century Renaissance Style Pewter Metal Candle Holders: Featuring a knopped stem adorned with intricate scrollwork, baskets of flowers, and snail motifs. The triform base...

Well cast and impressive sculpture of a nude woman entitle "The Vine" numbered 9/100. Bronze cast on solid marble base. Measures: 24" high.

Head of a woman, wood sculpture, Art Deco, 1930 Carved wood sculpture, in the taste of the renaissance, beautiful quality of work, 1930, Art Deco style. H: 36 cm, W: 18 cm, D: 17 c...

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...

A very large and unique white marble mortar from the 16th century with sculpted side mascarons. This imposing piece has great patina and character. It looks impressive set in a coffe...

Amphora in majolica handmade in Italy and hand-painted in polychrome, decorated with a reinterpretation of the patterns used in Deruta during the Fifteenth Century, following the ori...

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

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

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 ...

This marble figure of a sleeping child was crafted around 1800 in the style of François Duquesnoy, a sculptor active in Italy in the early 17th Century....

very big and massive bronze door knocker, German or maybe Italian in origin, 16-17th century, amazing green original patina to the face, some scares and dings to the face which gives...

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

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

Pair of Italian Renaissance-style (19th Century) round bronze altar sticks with filigree top and base (priced as pair).  

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...

Antique continental wood carving of a youth holding a vessel resting on a lion carved pedestal, 19th century. Both wood carving and pedestal have excelle...

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...

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 lovely antique lacquered apothecary box was crafted in Italy in late 19th century in the style of medicinal herbs casket in use in pharmacies during the Middle Age and Renaissan...

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...

Cerberus Black painted stone Italy, 17th century Measures: 80 x 69 x 36cm (one head missing) Cerberus, cruel monster, fierce and strange, Through his wide threefold throat barks as a dog Over the multitude immers'd beneath. His eyes glare crimson, black his unctuous beard, His belly large, and claw'd the hands, with which He tears the spirits, flays them, and their limbs Piecemeal disparts (Dante, Inferno, Canto VI). Cerberus figure seated, in his role of ferocious guardian of the underworld; he shows a nervous musculature, an adherent skin which reveals the ribs, long and robust limbs; his heads are broad and the eyes set well apart. Painted in black to amplify his menacing look, the infernal guardian is depicted with his famous attributes, writhing his heads, growling and barking furiously. Cerberus, in Greek mythology, was the monstrous watchdog of the underworld – also known as the “hound of Hades” – preventing the dead from leaving, and making sure that those who entered never left. A child of Typhon and Echidna, he was part of a monstrous family, which included Orthus, the Lernaean Hydra, and the Chimaera as well. Only on three occasions Cerberus was tricked by visitors of Hades: Heracles did it with his strength, Orpheus with his music. In "The Inferno", Dante places Cerberus as the guardian of the third circle of Hell. With his three mouths, Dante saw Cerberus as a beast that was synonymous with the sin of Gluttony. Virgil gets past the monster by throwing mud in his three mouths, temporarily choking him. Very rare are the representations of Cerberus in ancient statuary...

Pair of Italian Renaissance-style (19th Century) bronze altar sticks with swirl top and fluted bottom with round center and scroll filigree base (PRICED A...

Make a statement on your mantel with these tall, impressive antique ewers. Crafted in France circa 1870, and built of bronze, each "Aiguiere" (or ewer in English) sits on a heavily o...

Spectacular Patinated Bronze SCULPTURE depicting "The Child and the Crab"19th century Italy late 19th century 100 x 70cm good conditions