Renaissance Decorative Objects

A beautifully decorated 18th century Italian Majolica faience ‘wet’ or syrup albarello/drug jar. Blue and white having a front reserve, blue and white scrolls to body. Beautifully de...

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

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...

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

This is a pair of Capodimonte glazed white Parian porcelain nude cherubs who are playing with some gilt round small balls. Both of them are standing n...

Red coral branch 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 Art an...

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...

A very large 19th century twin handled maiolica vase in the form of a wine krater. The exquisite hand painted decoration includes two central cartouches, one depicting Bacchus and Ar...

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...

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 ...

Bible box hand-crafted in Italy in the mid 1600s using walnut. The box is still in fantastic shape and has a gorgeous patina. On three sides it is decorated with beautiful hand-carve...

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

Antique (late 19th century) patinated bronze sculpture of Mercury after the original model by Giambologna (1529-1608), aka Giovanni da Bologna (Italian) and Jean de Bologne (French),...

This exquisite pair of 16th-century Italian candlesticks is a testament to the artistry and craftsmanship of the Renaissance era. Meticulously carved from wood and adorned with opule...

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...

A truly magnificent Italian Renaissance gold gilded hand carved frame. Amazing craftsmanship and a very good condition for its age. Painting which fits inside (painting opening), di...

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...

Rare pair of Paris porcelain vases composed of a cubic base on a flared base and surmounted by a Medicis style vase with a generous belly. Superb decor on an orange and white back...

Majolica dish hand made and hand-painted in Deruta, Italy, according to the original Renaissance painting technique. The dish is enriched by the presence of four metamorphic dolphin-...

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 ...

A scale white statuary marble sculpture of Moses after Michelangelo circa 1875. After the larger than life-size Carrara marble original from the tomb of Pope Julius II in St. Peter’s Basilica, Rome completed around 1515. This scale sculpture is exceptionally carved, capturing the quality and detail of Michelangelo’s Moses...

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

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

Four antique bronze plaques depicting water-nymphs, by Ferdinand Barbedienne French, 19th century. Measures: Height 47cm, width 12cm, depth 2.5cm Finely cast in relief from patinated bronze with parcel gilt patina, these French 19th Century panels each depict a Classical female water-nymph. The relief structure and design is after four panels from the important marble fountain from the Renaissance period in Paris called the Fontaine des Innocents. This was created by the French sculptor Jean Goujon...

Exquisitely carved small bas-relief after a painting by Hans Holbein the Younger (1497–1543) Signed P. Nocker. Peter Nocker, Austrian, (1826-1880) (see Benezit dictionary of artists)

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...

A rather unique painted chest from Europe, this table coffer was commissioned in 1915. The right side (when viewing from the front) is dated, with the numbers flanking a springing ra...

This fine 19th century copy of the famous group is in a sumptuous Serpentine marble. The Sabine man crouches in submissive pose, whilst the Roman carries off the writhing woman. It is well-presented on the original matching plinth and pedestal . This perhaps forms part of someone's Grand Tour along with mosaics and bronzes after the antique...

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

A lacey black coral sea fan embellished with natural citrine mounted on a 19th-Century French bronze doré fragment. This is a lovely objet d'art to add to your collection or cabinet....

French Flute Player Gilt Bronze Figure, mid 19th century, the standing figure in 16th century costume on a black marble base. 11" H x 4.5" W x 4.5" D.

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...

Red coral branch embellished with natural emeralds and quartz mounted on a 19th-Century French bronze doré fragment. This is a lovely objet d'art to add to your collection or cabinet...

Please message us with your zip code to request a more reasonable domestic U.S. shipping quote. Antique Gothic Renaissance Revival Distres Blue Painted Twisted Wrought Iron Italian ...

Pair of Italian Renaissance (19th century) small gilt bronze lions on a pale green rectangular marble plinths.

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...

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...

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...

Highly decorated Renaissance style Belgium solid brass jewelry trinket box.

More information coming soon… Hand-carved in the 1600 or 1700s, these French busts in profile are in the style of the Renaissance. One figure is a bearded man with long, flowing lo...

Set of 3 Italian Renaissance style (19th Cent) stripped large figures/statues playing musical instruments

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...

Elegant pair of bronze candle sticks from the end of the 17th century from Italy Beautiful appearance and good quality with small traces of wear which make their charm Very beautif...

Carved wooden frame, polychromed and gilded made with different elements of marked Renaissance influence, resulting in an architectural composition with staggered base, two ribbed pi...

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).

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...

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...

Impressive pair of patinated bronze firedog andirons in Renaissance style. They are decorated with alternating vases of flowers topped by winged cupids...

Christ in Boxwood, France, late 16th-early 17th century Beautiful corpse of Christ with missing arms. He must have been on the Cross, arms in a horiz...

A handsome Continental rectangular iron-bound bullion (or strong) box or coffer chest of patinated walnut from the Renaissance 17th century, featuring a paneled exterior with decorat...

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

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...

Petite lacey black coral sea fan embellished with tourmaline mounted on a 19th-Century French bronze doré fragment sitting on an optical calcite base. This is a lovely objet d'art t...

A lacey black coral sea fan embellished mounted on a 19th-Century French Napoleon III bronze doré fragment. This is a lovely objet d'art to add to your collection or cabinet. Duri...

A rare wooden casket with polychrome and gilded pastiglia relief, Italy, 15th century. The box is adorned with four finely executed scenes from the life of an unknown martyr — beautifully preserved and remarkably vivid after centuries. Dimensions: 15.5 × 10.4 × 9 cm Provenance: Dutch private collection In overall good condition for its age, with minor losses to the surface and possible retouching to the polychromy. The ball feet are likely later additions. Pastiglia [paˈstiʎʎa], an Italian term meaning "pastework", is low relief decoration, normally modelled in gesso or white lead, applied to build up a surface that may then be gilded or painted, or left plain. The technique was used in a variety of ways in Italy during the Renaissance. White lead pastiglia was a north Italian speciality, produced between about 1450 and 1550. Six workshops were identified by Patrick M. De Winter, although their location remains uncertain; the Workshop of the Love and Moral Themes, whose products seem the most numerous, was possibly at Ferrara, where the painter Cosimo Tura began his career gilding caskets. Venice is also thought to have produced them. Other workshops identified by De Winter include the "Workshop of the main Berlin casket" and "Workshop of the Cleveland Casket". The subjects were typically classical, drawn from both mythology and Ancient Roman history (especially the early period covered by Livy), but biblical ones are also found. Compositions can often be shown to be borrowed from another medium, such as prints or bronze plaquettes...

Red coral branch 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 Art an...

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...

Small, rectangular, enamel keepsake box from Limoges. The lid is decorated with a central medallion featuring the profile of an upper-class woman, who was certainly the owner of this...

Pair of polychrome wood sculptures. "San Juan and San Pablo". Castilian school, 16th century. Both male figures have been represented standing, with their main iconographic attrib...

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...