Renaissance Decorative Objects

Large and heavy possibly made by Caldwell in the Italian Renaissance style. Old rich brown patina. Three light.

Provenance : Jean Gismondi collection, before 1973. This important walnut jewelry chest is outlined with a gilt motif and presents a decor imitating basketry. The lid is topped by...

Pair of Italian Renaissance style (17/18th Century) walnut and gilt trimmed large crouching figures with musical instruments on pedestal bases (PRICED AS PAIR).  

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

The monk is depicted with an oval face, marked with high and strong cheekbones, sunken cheeks, strong jawbones and a cleft chin. His almond shaped eyes are opened under very strong a...

17th century Spanish boxwood Christ on the cross.

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...

Easily recognizable with his gesture of showing pest effect on his thigh this pilgrim saint is accompanied by an angel curing him. The quality of the wood is noteworthy. Bibliography Louis Réau, Iconographie de l’Art Chrétien...

Very elegant sculpture reprenting a Putti (angel) from the German renaissance period -16 century Rare sculpture in walnut of great quality with a very beau...

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...

These Beautiful Italian 18th Century Black & White Engravings on Laid Paper Feature the Portrait of Female Statues, these pieces has been professionally Framed using all new Material...

Beautiful and very rare set of six engravings extracted from the work entitled “speculun romanae superbeiae” produced between 1554 and 1573 by An...

Globular shape decorated with yellows and blues with central cherub and a variety of other decoration. Signed on side of body. SPQR.

This is an unusual pair of 17th Century (or earlier) Flemish (?) carved lions that once formed part of a large cabinet or, perhaps, the feet of an elaborat...

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 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...

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...

This rare example of a Renaissance bronze mortar is decorated with starbursts all along the everted rim and features 4 large starbursts on the sides between the ribbed handles. The c...

Italy, Firenze, late 17th century Simple but elegant typical Florentine candlestick. It has cracks and small lacks of the pinstripe typical o...

16th C. hand carved Capital stone base architectural element sculpture pedestal. Very rare 16th century Renaissance corner Capital. Hand carved limestone Chapiteau Capital from a Cloister in France. From an ornamental point of view, it is the coronation, the upper part of a post or a column or pilaster pillar. A beautiful Architectural element garden ornament. It can used as a Base for a coffee glass table or as a side table for drinks or to mount books. A stunning Fragments to be used as stand for a sculpture. Use it as a pedestal or as a mounted decorative object. In an entryway a bathroom a living room, in an office, it will create an incredible focal point. It can make a beautiful base for a floor lamp by a leather reading chair...

Italy, Firenze, late 17th century Simple but elegant typical Florentine candlestick. It has cracks and small lacks of the pinstripe typical o...

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...

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...

A dwarf cassone with hinged top with chip carved edge over a paneled case with central keyhole, arcaded carved base.

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

The extraordinary beauty and superior craftsmanship of 17th century German clockmaking is on full display in this exceptionally rare horizontal tabletop timepiece dating to 1650 Augsburg. Created by Johannes Buschman the Younger, the eminent Buschman family of clockmakers are lauded for designing some of the finest timepieces to ever be created in the South German town of Augsburg during the late Renaissance and early Modern periods. A finely moulded ebony and turtleshell casing veneered in a mottled red hue holds the clock’s fusée and chain movement with verge escapement and balance with hogs-bristle regulation. A silver figure of Minerva, Roman goddess of war and wisdom, centers the Roman numeral-engraved chapter ring, indicating the time by pointing to the hour with an authoritative military staff as the sun rotates below her feet to indicate the minute. The incredible design is finished by a gilded backplate intricately pierced and engraved with a floral motif and the signature of Johannes Buschman. Clocks are one of the greatest and most important inventions of the Renaissance period, improving steadily into the Age of Discovery. Embodying a renewed interest in science, the arts and humanism, the first mechanical timepieces began appearing in the 14th century and were large, weight-driven devices placed in the turrets of public buildings that struck the hour and lacked hands and faces. This clock was created during the first period of household clocks, when spring-driven movements made it possible to create smaller and more complex mechanisms. Such creations, however, were a luxury accessible only to the wealthy upper classes. Affluent patrons placed pressure upon artisans to create more elaborate and ornate clocks...

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

Judith with the head of Holofernes, unsigned rectangular cast bronze plaquette, by Andrea Briosco, called Riccio (1470-1532), Judith...

Exceptional altarpiece representing the annunciation circa 1600, fruitwood rare altarpiece from the North of Portugal, unique due to its large size representing the scene of the annunciation, where the Archangel Gabriel (represented on the bottom left), sent by god (represented on the top left) announces to Marie (bottom right) that she will give birth to Jesus. Very good state of conservation, carved on three panels Dimension: Height 1m51 Width 1m03 Very nice colour and exceptional dimensions Restorations of use We placed the altarpiece on a red velvet base and a Spanish occasional...

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...

Italian important 17th century small bronze technique lost wax "La Pietà" by STEFANO LANDI . Measures cm: H 20 x W x 20 x D 20 "La Pietà" was a very popu...

Awe-inspiring in size and artistry, these incredible Venetian figural torchères pay homage to two of Italy’s most celebrated merchant explorers–Marco...

Interesting iron mortar with its original base French Renaissance mortar, circa 1600 This beautiful object is composed of its iron mortar which is 28cm high and its base which ...

16th century high relief limestone bust that topped a stone arch. Side heraldic decorations indicate a patron Saint. The face is weathered but the general condition is good.  

Chic, 15th Century, Roman marble fragment of a left foot and calf mounted on a custom iron stand.

Stunning early 1600s press with hand-carved heraldic lion sculptures. In the same decade that a young painter by the name of Rembrandt van Rijn w...

Patinated bronze urn-shaped inkwell rests on three winged-horses evoking movement and action. The body of the inkwell is decorated with faces among garlands and the lid is topped by a seated putti holding fruitVenetian patinated bronze figural inkwell...

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...

Italian Renaissance painted pine lifesize figure of religious scholar holding book,17th or 18th century.  

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...

After the model by Pierre (Pietro Francavilla) de Francheville) (1548-1615) This energetic model of an athlete in motion has finely detailed musculature. The patina is a rich brown...

Finely carved overall with arabesques, birds and scrolls, the top centered by a cartouche. César Bagard was born in Nancy in 1620. Most of the work known to have been carved by him ...

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...

Rare late 17th century Italian rustic miniature blanket chest in solid poplar wood. This miniature blanket chest is ideal for decorating your home and can be used to store your preci...

Florentine leather casket Italy, Tuscany 16th century leather, iron and wood. Very rare boiled leather box incised on a wooden core; iron lock. The central shield is divide...

Perseus (or Mars?) Padua, first half of the 17th century follower of Tiziano Aspetti (Padua, 1559 - Pisa, 1607) bronze with dark patina State of conservation: the dark patina cov...