Renaissance Decorative Objects

An 18th Century carved & polychromed Saint, various old repairs & losses, but truly great original surface! 42 1/2"h. We are a family business that has been a major source for the s...

Superb offering dish in brass from the end of the 16th century/early 17th century circa 1600 from Nuremberg-Germany Very beautiful large offering dish with a rose sculpture in its ce...

Spanish Santa Margherita with Dragon hand carved wood sculpture. Beautiful original polychrome especially on the dog figure which is an example of a mythical Renaissance medieval dragon...

Shipping policy No additional costs will be added to this order. Shipping costs will be totally covered by the seller (customs duties included). The large cylindrical straight-side...

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...

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...

Cercle of Jacopo della Pila (Lombard, in Naples 1471-1502) Marble relief depicting a winged Cherub Naples, second half of15th century 40 x 57 x 12 cm Exquisitely carved, this relief portrays a winged cherub with cascading hair and delicate features. The cherub's plump, smooth countenance, rounded cheeks, outlined lips, and finely drawn nose emanate a sense of tenderness. The quadrangular module, is adorned with a carved frame. The relief ascends gradually, transitioning from the low relief of the wings to the high relief of the head. The rectangular frame and the subtly curved form of the artwork suggest that the relief likely adorned the upper part of an arch or a vaulted chapel. The type is that of the perspective room with a coffered ceiling decorated with figures of winged cherubs, which is found in various Neapolitan chapels of the 15th century. Coffered ceilings attest to the recovery of antiquity and the search for luxury in Renaissance architecture, first in Florence, then in Rome and Naples. The majority of the numerous family chapels and tombs built during the late fifteenth century in south of Italy employ the new formal vocabulary of the Florentine Renaissance in a self-confident manner that permitted a broad spectrum of variations. The escalating admiration for the classical world, coupled with the development of perspective, significantly contributed to the Renaissance endorsement of coffered ceilings. This artistic and constructive device drew inspiration from the intricate marble patterns observed in historical landmarks such as the Arch of Titus, the Temple of Vesta in Tivoli, the Pantheon, and the Basilica of Maxentius. A distilled product of both mathematical and artistic cultures, deeply scrutinizing the ancient world, the coffered ceiling plays a vital role in the perspective construction of space with its regular and directional geometry. The motif of the coffered ceiling decorated with cherubs in relief was introduced in Naples by Francesco Laurana in the plastic decoration of the Arch of Castelnuovo. Laurana's impact on the art scene in the south of Italy was profound. The introduction of the winged cherub into the region's artistic vocabulary bridged the gap between the classical and the contemporary, creating a synthesis that resonated with both aesthetic and spiritual sensibilities. His influence extended beyond the immediate visual appeal, shaping the cultural identity of the Renaissance in southern Italy. Although the plastic decoration of the Arch of Castelnuovo cannot certainly be ascribed to a mature Renaissance style, it was precisely on this occasion that the sculptors who worked there could get to know and export throughout the Italian peninsula that type of "Florentine classicism" which, even in the 15th century Naples, was conditioned by the Burgundian culture imported into the Kingdom by Alfonso of Aragon himself, with artists called from Spain and Northern Europe. The coffered ceiling, with its geometric patterns and Laurana's winged cherubs nestled within, became a symbol of refinement and cultural sophistication. The relief sculptures, carefully integrated into the overall design, transformed the ceiling into a celestial realm, inviting viewers to contemplate the divine while immersed in the grandeur of the Renaissance space. Similar winged cherubs appears also in the Naples cathedral. Within the renowned Succorpo Chapel, a mesmerizing marble coffered ceiling adorned with cherubs epitomizes the splendor of the Neapolitan Renaissance. The interplay of light and shadow on the textured surface of the marble coffered ceiling introduces an ethereal dimension, providing an immersive visual experience for observers. The geometric precision and the repeated patterns, reminiscent of classical motifs, establish a sense of harmony and balance that has become the hallmark of the Neapolitan interpretation of Florentine Renaissance aesthetics. Although probably intended to be admired from a distance, this cherub is intricately detailed and exquisitely rendered: the face and hair are elegantly outlined and the feathers are textured through juxtaposed lines. The marble, both figurative and decorative, adheres to the principles of balance and restrained ornamentation typical of the « Florentine Classicism ». Harmonious shapes and gracefully orchestrated curves , rooted in the classical repertoire, converge to evoke a sense of ethereal beauty. The surface displays the masterful use of a chisel to intricately carve the feathers and facial features, creating an almost abstract quality. This work is a testament to a sculptor of great skill and rich figurative knowledge, seamlessly blending classical firmness in contours with a refined treatment of the marble's surface. The combination of tradition and innovation point to a stylistic idiom from Lombardy, in particular we can find some comparaisons with the works of Jacopo della Pila, sculptor of Lombard origin working in Naples in the second half of the 15th century. He is documented there between 1471 and 1502, and is a protagonist of the Aragon Renaissance in the second half of the Quattrocento, together with the other great Northern sculptor active in the kingdom, Domenico Gagini. the first commission he received dates back to August 9, 1471, when Jacopo publicly committed to sculpting the funerary monument of Archbishop Nicola Piscicelli to be placed in the Cathedral of Salerno. The last known work is an altar ordered on July 29, 1502, by the noble Jacopo Rocco for the church of San Lorenzo Maggiore in Naples. Between these two chronological extremes (1471-1502), we must place the fervent activity of the artist, who had trained in Rome, perhaps under the guidance of Paolo Romano but also engaged in dialogue with other major artists of the city, especially Isaia da Pisa. He enriched his experience in Naples, initially drawing inspiration from the works of Domenico Gagini and later from the Tuscan masterpieces of Antonio Rossellino and Benedetto da Maiano destined for the church of Santa Maria di Monteoliveto. Jacopo della Pila's artistic personality is thus based on a complex interplay of influences, contributing to the definition of a highly personal style. Close comparaison can be made between our cherub and the winged angels reliefs...

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...

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...

The bronze statue depicts a Turkish warrior with shield and sword. the warrior is shown bare without veils, with a base also made of oval-shaped bronze, acting in a war scene. Detai...

Hand-carved in the 1500s, these Italian lion supports are the work of a master-level craftsman. It is possible that they were originally legs for a High Renaissance cassone. A fresh ...

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...

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

Possibly Saint Hubertus or Saint Eustace. Carved, polychrome and gilded wood. Spanish school, 16th century. Carving in polychrome and gilded wood, sim...

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...

Rare basin (We think it was the basin to wash the feet on hollyThursday) in brass Rare plat of the german renaissance since it is rather a basin which is much rarer than a offering basket...

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...

lovely pair of Saint Mark in walnut from the 16th century - Venice Very beautiful pair finely carved representing Saint Mark with a book in his hand a lion at his side This is a pen...

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 ...

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

Carved oak sculpture of Christ emerging from the tomb, surrounded by Roman soldiers, 17th century. Carving of Christ emerging from the tomb, surr...

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

Saint Anthony with the Child Jesus. Wood. Mechelen School, 16th century. Sculpture in carved wood worked, as was usual in that center, on the front because it was designed to be pla...

A terracotta bust of Christ as The Redeemer Tuscany or Emilia Romagna, late 15th century Measures: 46 x 43 x 21 cm This powerful, moving bust of...

Followers of Jean de la Huerta, Jean de Blany ? Saint Jerome Limestone Burgundy, second half of the15th century 60,5 cm ALR Ref : S00248050 This exquisite sculpture of Saint Jerome, carved from soft, nearly white limestone typical of eastern France, exemplifies the exceptional craftsmanship of 15th-century Burgundian art. The figure of Saint Jerome, a key figure in Christian history renowned for translating the Bible into Latin, is depicted wearing a cardinal’s hat and holding the Vulgate Bible...

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

Cercle of Juan Martinez Montañés (1568-1649) Infant St John the Baptist Spanish, 17th century H 74 cm Saint John the Baptist is here represented naked, sitting on a rock, with...

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...

Group of altarpiece representing the life of a Saint, Saint Renualde? Engraved by the sign of Antwerp hand on the hat of the central character Carved oak, traces of polychromy Fir...

Splendid sculpture in white Carrara marble depicting a young Hercules holding the world. Originally, the work was conceived to be used as a caryatid at the beginning of a sumptuous m...

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

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...

Prologue: An Ancient Mastery the Wooden Sculpture We begin our journey through Gothic art by presenting a magnificent Late Gothic Female Wooden Sculpture from the Flemish 500s. This ...

Cross pendant in gold and diamonds 17th Century in chiseled gold, representing Our Lady of the Conception, decorated on the reverse with Jesus Christ, studded with pink cut diamo...

An Italian Brass cast bench Hanukkah lamp made in the Renaissance era of the 18th century. A pair of rampant lions leaning on a goblet-shaped burning incense alter is reminiscent of...

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 ...

Large wooden Madonna and Child, painted and carved in hollow at the back. The theme of the Virgin and Child is the most represented in all Christian art, whereas the infancy of Jesus...

Superb Flemish Renaissance bronze pot from the 16th century. Superb patina and in very good condition.

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

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...

This sculpture has taken on a different character over time as it has weathered and the detailing has softened. Time has given it a pared down, minimalist quality juxtaposing the R...

An intricately carved pair of large oak Renaissance period candlesticks. Beautifully patinated dark oak with expertly carved berries and leaves from bas...

An important bas-relief in carved wood with traces of gilding, in an architectural frame with two cherubs in the spandrels, representing Saint Roch. He is considered to be the patro...

Interesting iron mortar with its original base French Renaissance mortar, circa 1600 This beautiful object is composed of its iron mortar whic...

Large and important pair of vases from the Savona factory. Both vases have side handles ending in dragons. The reserves on the side are decorated with figurative scenes and architect...

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...

Cercle of Romano Alberti, dit Il Nero da Sansepolcro ( San Sepolcro, 1521-1568 ) Page Mixed media : wood core, papier mâché, stucco, polychrome and gilded Italy, around 1530-154...

Agnolo di Polo (Firenze 1470 - Arezzo 1528) Saint Nicholas of Tolentino Around 1510-1520 Painted and gilded terracotta 55.5 x 24 x 16.5 cm San Nicholas de Tolentino is represe...

Renaissance Marble Relief Emilia Romagna, Faenza ? 1470-80 H 30,2 x L 33 x P 3,5 cm The carved marble relief depicts the Virgin accompanied by a winge...

These monumental candlesticks are absolutely rare in this execution. They are divided into four segments in a multiple way and perfectly rotated. They are connected to each other by ...

Important bas-relief in carved wood with traces of gilt, in an architectural frame with two angels in the corners, representing Saint Rocco. Considered, among other things, the Patro...

Hercules holding a coat of arms Flemish, XVII century White and black marble Measures: 67 x 32 x 19 cm Hercules is depicted naked, holding a coat of arms with the right hand an...

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

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...

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