Renaissance Decorative Objects

Huge Antique Silvered Metal Campaigns Urn Planter - Barbara Lockhart Estate

This exquisite work of art was created circa 1836-1840 in France by the acclaimed French gold and silversmith, Jean-Valentin Morel. Using only the finest of materials and with exceptional attention to detail, this magnificent piece is without doubt one of the finest creations within the field of decorative arts in the 19th century. The body of the cup has been crafted from the pinky-red and orange gemstone, agate, and fitted with gold and silver-gilt mounts, which have, in some places, been jewelled and enamelled. Morel specialized in high quality hard stone cups...

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...

Renaissance Harpy bronze Italy, 16th century 15 x 12 x 5,5 cm This expressive bronze figure represents a harpy, a mythological creature with the body of a bird and the head and tor...

A handsome pair of French 19th century Renaissance st. patinated bronze and ormolu urns. Each urn is raised on a circular black Belgian marble base with fluted and beaded patinated b...

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...

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...

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...

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...

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...

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...

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

Florentine Black and Gold Gilded Frame, Italy. Fantastic art frame or potential mirror with incredible patina that would work with your favorite watercolor or oil painting. For an a...

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...

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).

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...

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...

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...

An small but exquisitely cast and highly detailed bronze statue of St Joan of Arc in full body battle armour including the horse with one hand holding ...

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...

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

17th century Spanish boxwood Christ on the cross.

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...

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...

Antique French Renaissance Art Nouveau Figural Bronze 4 Candle Pink Glass Column Candelabra. Circa Early 20th Century. Measurements: 18.5" H x 1...

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

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...

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...

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

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...

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.

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

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: ...

Hand Carved Poplar Frame With large Acanthus Leaf Corners H. 44" x W. 35"

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

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...

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

Hispano-Moresque Mudéjar Bone-Inlaid Walnut Chest
 Spain, 16th–17th century 
Walnut, bone inlay, iron fittings
 44.5 × 30.5 × 18 cm This rectangular walnut chest, richly ornamented ...

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 casket. The casket with raised lid all carved with Cherubs on the front and back panel. Original polychrome

This marble figure of a sleeping child was crafted around 1800 in the style of François Duquesnoy, a sculptor active in Italy in the early 17th Century....

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...

A very elegant French 19th century Renaissance st. Rouge Antique marble, ormolu and patinated bronze tazza. The tazza is raised by a circular ormolu band below the tapered marble bas...

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...

A striking true pair of French 19th century Renaissance st. ormolu and patinated bronze ewers. Each ewer is raised by a superb circular reeded base with a fine spiral fluted socle sh...

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.

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...

An antique bronzed terracotta bust of Dante. In Renaissance style and a desirable scale, this bust would make a striking decorative piece for any period property, particularly for those looking to appreciate Italian history. At over 140 years old, the bronzed terracotta gives this bust a characterful time worn look accompanied by its integral socle. The bust is marked ‘Dan’ to its left shoulder, ’Tes’ on the right, and '727 R’ to the back. Dante Dante, or Dantes as the bust reads, was an Italian writer and very important figure in the Renaissance. Though he died in 1321, Dante’s works have lived on throughout the centuries, his epic poem ‘La Commedia’ (also known as ‘The Divine Comedy’) considered one of the world’s greatest works of literature. It was the first that influenced the Renaissance and the first work with a personal interpretation since the fall of Rome...

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...

A high quality pair of French 19th century Renaissance st. patinated Bronze, Ormolu, black Belgium and Rosso Antico marble ewers. The pair of urns are raised by square Belgium marble...

An exceptional and rare pair of Renaissance bronze candlesticks, dating from the 16th century and likely originating from Bohemia (modern - day Czech Republic). Each candlestick feat...

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...

Coppia di Importanti Cariatidi del 1600 in legno intagliato a patina scura provenienti da un complesso corale impiegati come divisori tra gli stalli. Le due figure sono asessuate, co...

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...

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...

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...

Small statuette in bronze of a Venetian mercenary on a small brown stone base with a natural edge. Italy, 16th/17th Century.

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...

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...

From Niagara Furniture a Vintage Faux Leather Waste Can. Cast from resin the planter has been given a super high end look by decorating it to appear as though it is wrapped in leather and painted with what looks like gold tooling. Ingeniously designed to resemble an antique waste basket...