Renaissance Decorative Objects

Hand Carved Stone Column Base pedestal Sculpture Doorstop Decorative Element LA . Nicely hand carved 17th century Renaissance stone column base appli...

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...

Evocative pair of wooden sculptures depicting angels in flight, carved in the round and covered in fine gold leaf gilding. The figures, with strong expressiveness and movement, are d...

Extremely large, hand molded, painted, and majolica-glazed, relief sculpture "Tondo" (meaning "art in the round") after famed Renaissance artist, Andrea della Robbia...

A handsome and high quality pair of French 19th century Renaissance st. patinated Bronze and Ormolu urns. This wonderful pair of lidded urns are raised on circular bases with an Ormo...

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

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...

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...

Saint John the Baptist 18th century Portuguese sculpture from the 18th century. in polychrome wood. The figure is represented standing with the lamb. Small flaws. Measure: ...

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...

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

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...

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...

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...

A large and fine pair of Italian Renaissance carved and black painted torchieres with parcel gilt.

A large early 19th century Italian statuary marble plaque depicting a reclining cherub or putto, formerly owned by the 1st Earl of Mountbatten. Expertly carved in deep relief, this p...

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

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)

Vintage French Renaissance Silver Plated Figural Italian Inkstand Desk Double Inkwell. Item features double inkwell with inserts, central can...

With classical scenes depicting frolicking cherubs in relief, the top surmounted with a musical bronze cherub on a vine cast handle with bird and ram masks on a domed and vine cast c...

"Michelangelo prèt-a-porter " -Testone - Unique piece, 2017 glazed earthenware A Ring Thing collection A small chair, a miniature moon, a Philipp Stark's squeezer or the anatomic...

Renaissance period painted and giltwood candle holder or pricket - featuring four elaborately hand carved winged cherubs beneath an octogonal platform with the original hand forged i...

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...

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...

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...

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...

French bisque porcelain portrait bust in the Renaissance manner. French, 19th Century Measures: height 65 cm, width 40 cm, depth 22 cm. Th...

Italian Renaissance-style (19/20th Century) hammered brass jardiniere with lion heads and decorated with Renaissance scenes on three ball feet

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...

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

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...

An outstanding true pair of French 19th century Renaissance st. patinated bronze, ormolu and Belgian Granite candlesticks. Each candlestick is raised by hexagonal granite bases with a bottom wrap around mottled ormolu band and six finely scrolled foliate feet. The right one displays a beautiful patinated bronze maiden seated on a richly chased ormolu dolphin...

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

An impressive and high quality true pair of French 19th century Renaissance st. patinated bronze, ormolu, and black Belgian marble candelabras signed Grêgoire. Each seven arm candelabra is raised by elegant scrolled ormolu feet below the striking square stepped mottled black Belgian marble base with a remarkable central ormolu plaque, a lovely berried laurel leaf, a smooth cabochon, and beautiful wrap around ormolu band. The wonderfully executed patinated bronze statues at the center depict beautiful maidens draped in finely detailed flowing garments with one arm in the air seemingly holding up the ormolu cluster above amidst charming foliate designs and impressive dolphins. Above are six striking elegantly curved arms centering a single one with lovely finely detailed foliate accents leading to remarkable reeded bobeches and most decorative candle cups. Jean-Louis Grégoire (1840-1890) a renowned 19th century French sculptor. Trained at the École des Beaux-Arts in Paris, and took part in Les Éxpositions de Paris. In 1899 was awarded with Le Prix...

Italian Renaissance style plaster eye detail of Michelangelo\'s David statue

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...

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...

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...

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...

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...

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 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...

A pair of bronzed cast iron Renaissance style andirons. Each with a figure of a cherub holding a cornucopia, on a ring turned and baluster column over stepped quadripartite plinth ba...

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...

Very large Christ (1.80m from hands to feet) sculpted in the round, with its original polychromy. Oak wood, probably from the Troyes sculpture workshops in the Aube region. First hal...

A PLASTER BUST OF INFANT BACCHUS AFTER CLAUDE MICHEL CLODION (1738-1814) First half of 20th century Depicted with ringletted hair adorned with vine leaves and grapes on a circular f...

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...

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...

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

Huge Antique Silvered Metal Campaigns Urn Planter - Barbara Lockhart Estate

A striking and high quality pair of French 19th century Renaissance st. ormolu and Brèche Violette marble urns. Each urn is raised by a circular base with a fine mottled border and b...

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...

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...

2 Italian Renaissance style objet d'art ostrich eggs mounted on bronze triple griffin bases (19/20th Cent) (PRICED EACH)

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

An incredible and rare 15th century French carved limestone fragment depicting the back of a man's head with a wavy hair texture, and mounted on a c...

Italian renaissance hand carved wooden "putto" angel head, circa 15th Century Width 14 inches / height 14 inches / depth 4 inches 1 available in stock in Italy Order reference #: FAB...

A very fine copy of the Renaissance sculpture entitled 'A Little Boy'. After Italian Renaissance sculptor Desiderio da Settignano, or Desiderio de Bartolomeo di Francesco detto Ferro. In cast bronze. Simply a wonderful bust! Date: 20th Century Overall Condition: It is in overall good, as-pictured, used estate condition. Condition Details: There is rubbing to the patina on the crown of the head...

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...

Unusual Antique 18th century Italian polychrome & giltwood Alter candlestick Additional information: Materials: giltwood, Polychrome ...