Renaissance Decorative Objects

Christopher Columbus bust, ceramic Columbus bust, Christopher Columbus sculpture, Hand-molded bust of Christopher Columbus on light-colored ceramic visible signature Stefano Todini. ...

Giorgio Salimbeni Gold-Plated Sterling Silver and Enamel Photo Frame, Florence, 1970 Elegant rectangular photo frame in 925/1000 sterling silver, gold plated, and richly decorated wi...

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...

A high quality and large scale pair of French 19th century Renaissance st. Rouge Griotte Marble, patinated Bronze and Ormolu candelabras, signed F. Barbedienne. Each nine arm candel...

A stunning and most unique pair of French 19th Renaissance st. Ormolu, patinated Bronze and Rouge Griotte Marble ewers. Each stunning urn is raised by a square Rouge Griotte Marble b...

Renaissance style figure of a pilgrim with a small dog. Continental hammered, repouusse and incised copper, circa 1860.

16th Century Spanish gold gilded and polychromed Carved-wood sculpture of Our Lady of Mount Carmel. She depicts the Blessed Virgin Mary in her...

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...

Renaissance Marble Portrait Northern Italy, 17th century, inspired by antiquity Marble 36 x 13 cm (including the marble pedestal) This Renaissance portrait head of a young man, sl...

Heavy Flemish bronze candlestick from the end of the 16th century. Total height 34 cm, without spike 27.5 cm, base diameter 11.5 cm, weight 2.2 kg.

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...

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).

Pair of 16th Century Italian carved polychromed angelic sculptures.

Antique Fraget n Plaque Renaissance Sabbath Brass Gilt Candlesticks - a Pair. Item features floral repousse candlestick forms, authentic aged patina. Very unique antique pair. Circa ...

A striking and high quality pair of French late 19th century Renaissance st. Ormolu and Rouge Griotte marble urns. Each stunning ewer is raised on a circular Rouge Griotte marble bas...

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...

Andrea Salvatori, "Davidiera", 2015 glazed earthenware, measures: H 68 x 25 x 18 cm Michelangelo's David becomes a teapot in this witty reinterpret...

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...

French painted bisque porcelain bust of a woman French, 19th century Measures: Height 68cm, width 40cm, depth 30cm This fine bust is crafted from painted bisque porcelain. The bust depicts a young woman in a historicised Renaissance style: the sitter tilts her head to her left, her eyes glancing to something in the distance. She wears an ornate feathered head...

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...

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...

Set of two 16th century oak panels, one representing a character accompanied by a dog, the other a character in flames, probably saints. These ...

Elegant 19th century French centerpiece, finely cast in bronze with gilt patina, featuring a putto holding a beautifully cut crystal dish. The richly decorated base shows intricate s...

This charming set of three antique German plaques are each cast from high quality 19th century iron, meaning that the detailing on them is of a very hig...

Grand Tour Verdigris Marble After Giambologna, The Abduction of a Sabine Woman' Italy, Mid- 19th century, Attributed to the workshops of Benedetto Bosch...

A handsome and large scale pair of French 19th century Renaissance st. patinated Bronze and Ormolu candelabras. Each seven arm candelabra is raised on a triangular shaped patinated B...

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 ...

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...

A stunning and most unique pair of French 19th century Renaissance st. Ormolu, patinated Bronze and Green Antique marble potpourri urns. Each attractive urn is raised by three slen...

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

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...

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

This is an alabaster group sculpture of the Cretan princess and daughter of the king Minos of Crete, Ariadne seated over her panther. Her left elbow is over the head of the panther a...

Antique (late 19th to early 20th century) patinated bronze sculptures of Mercury and Fortuna after the original models by Giambologna (1529-1608), aka Giovanni da Bologna (Italian) a...

This stunning pair of silver and agate tazzas by prominent Parisian goldsmith and jeweler Jules Wiese exhibits a classical elegance. The warm beauty of the...

Amazing Italian Bowl Made of Agate and Gilded Silver With Stones 19th century Neo-Renaissance agate bowl with acanthus leaf rim rests on four legs depicting winged chimeras. Moun...

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...

A most decorative and highly detailed pair of French mid 19th century Renaissance st. patinated bronze and Rouge Griotte marble ewers. The pair are raised by octagon shaped Rouge Gri...

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...

18th Century or Older Italian Renaissance Style Carved Verdigris Marble Table Box  This exquisite 18th-century or older carved Verdigris marble table box epitomizes Italian Renaissa...

Life-size marble sculpture of Spring by Antonio Frilli Italian, late 19th century Height 159cm, width 47cm, depth 40cm This superb sculpture is the work of Antonio Frilli, a renowned Italian artist active in the late 19th century, who founded the Frilli gallery...

Manopan crank musical organ. 19th Century. It is complete but it does not work, it needs to be revised. It has 6 cards with spanish songs of the time. G...

A well-modelled, mid 19th century statuary white marble bust of Dante Alighieri, famed late 13th to early 14th century Italian philosopher, writer and poet. Originating from Italy, ...

Large round pillbox in 925/1000 sterling silver gold plated with fine fire-enamelled engraving in two colours, in Florentine Renaissance style. Diameter cm. 5 cm high. 2. Weight gr. ...

An elegant pair of French 19th century Renaissance st. onyx and ormolu urns/ewers. The pair are raised on square onyx plinths below circular ormolu bases with reeded borders and palm...

Early 16th Century Spanish carved-wood and polychromed panel of The Betrothal and Love of Joseph and Mary mounted on a Lucite panel and framed with a walnut wood hand-finished frame.

Magnificent and Monumental 16th Century Renaissance Carved Oak Bust of Christ, Flemish Netherlandish, C. 1550 A powerful and deeply expressive Renaissance carved oak bust of Jesus C...

A striking pair of French 19th century Renaissance st. ormolu and etched glass vases. Each vase is raised by a circular base with lovely scrolled foliate designs on a hammered backgr...

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...

Griffin head Italy, 16th century On a modern metal stand Measures: 20 x 29 x 21 cm (without the stand) The griffin is a legendary creature with the body of a lion, the head an...

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...

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...

An elegant marble statue of the pacing stallion after the antique by Alceo Doessena. Inspired by the Horses of San Marco in Venice, this beautifull...

An unusual set of 4 matching spanish candlesticks from the 17 th century made in brass Heigth each 22.5 cm Aged patina

Belgium / 17th century / Candlestick / bronze / Renaissance A finely cast 17th-century bronze candlestick from Belgium, this piece embodies the sculptural elegance and decorative v...

This beautiful sculpture of a mother and child was created in circa 1900 by the French sculptor, Vincent Desire Faure de Brousse. Faure de Brousse was...

A handsome pair of French 19th century Renaissance st. patinated bronze and giltwood urns. Each urn is raised by a circular mottled giltwood base and a patinated bronze socle pedesta...

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

Italian Plaster Sculpture Depicting Moses Inspired by Michelangelo Early 1900s. This plaster work recreates one of the masterpieces of Renaissance art, Michelangelo's Moses, inspired...

Paul Fournier (French, 1859-1926): A large bronze figure of a minstrel playing a lute the figure in Renaissance dress, looking to dexter and seated o...