Renaissance Decorative Objects

A large scale reclaimed bronzed and gilded plaster bust of Roman emperor Tiberius. In Grand Tour style and an impressive large scale, this bust would make a striking decorative piec...

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 beautiful 19th century giltwood and polychrome angel alter candle stick. Circa 1880. Wonderfully crisp hand-carved lime. Note the spectacular water gilded folds of the gown, and s...

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...

Indo-Portuguese sculpture Saint Ana teaching our lady to read 17th century Indo-Portuguese sculpture, from the 17th century. polychrome wood. The figure is represented sitting ...

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...

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...

Pair of 19th century French faience vases by Jules Vieillard of Bordeaux. Italian Renaissance style decoration depicting Venus. Mint condition. Mark to underside: JVB. Please refer t...

Vintage Italian Renaissance Jacobean Style Turn Carved Oak Wood 18.5" Candlesticks a Pair. Circa Early to Mid 20th Century Measurements: 18.5" H x 6" Diameter.

Bottega Vignoli, Borgia conical vase, 2022 hand painted majolica 17cm x 37cm height. Unique piece. Bottega Vignoli is a brand of artistic ceramics...

Majolica vase with a black background decorated in golden yellow. the vase is formed by a very slender body and a flared neck ending with a rather everted edge: it is handmade and ha...

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...

A handsome pair of French 19th century Renaissance st. patinated bronze, ormolu and Rouge Griotte marble urns, signed Leon Boucher. Each urn is raised by ...

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...

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 ...

Pair of Italian Renaissance-style (19th century) brass double swirl candlesticks (priced as pair).  

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...

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

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...

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...

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...

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...

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...

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

Holy Bishop sculpture 18th century Portuguese sculpture, from the 18th century. in upholstered, polychrome and gilded wood. Fingers flaws. faults and defects, Measure: Height:...

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...

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...

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...

This charger made as an intentional remake of a famous object is fully embossed on the back as such and contains the maker's name. The charger contains many different scenes from ant...

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...

"Orvieto", large plate, 2017, full-fire reduction faience earthenware 52 cm diameter, hand painted unique piece. Perfect décor for the wall or simply placed at the centre of a table...

This fine 19th century copy of the famous group is in a sumptuous Serpentine marble. The Sabine man crouches in submissive pose, whilst the Roman carries off the writhing woman. It is well-presented on the original matching plinth and pedestal . This perhaps forms part of someone's Grand Tour along with mosaics and bronzes after the antique...

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

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...

A handsome and richly decorated pair of French 19th century Renaissance st. silvered bronze, ormolu and patinated bronze ewers. Both are raised by a square ormolu base with rounded c...

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...

A very handsome pair of French 19th century Renaissance st. ormolu and black Belgian marble ewers, attributed to Barbedienne. Each ewer is raised by a fine...

Reduction in patinated bronze with the high-relief decoration of the Monument to Dante, with glass top to form a pedestal table The Monument to Dante, sculpture dedicated to Dante A...

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

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 ...

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

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...

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...

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...

A fine pair of American parcel-gilt and patinated bronze, twin light candelabras/ table lamps attributed to Edward F. Caldwell & Co, New York, first quarter of the 20th century. Ea...

PAIR OF MEDICI - TUSCANY POT WITH HANDLES early 20th century HEIGHT 40cm LENGTH 85cms DEPTH 80cm WEIGHT 20Kg Material Cast iron / cast iron PROJECTING PART 80 cm good cond...

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

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...

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...

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...

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...

A stunning and high quality pair of French 19th century Renaissance st. Ormolu and Rouge Griotte marble candelabras. Each most elegant two arm candelabra is raised by a circular Roug...

A handsome pair of French 19th century Renaissance st. patinated bronze and ormolu urns. Each urn is raised by a circular base with a mottled border below the socle shaped support. T...

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

Terracotta Putti Statue Resting on Conforming Raised oval Base Signed " R. Rod " Late 19th Century To Early 20th Centurty MEASUREMENTS: 19" H x 20" W x 10" D

A 20th century cut crystal and gilt bronze dish in Renaissance taste. The circular cup is decorated with cut-diamond patterns. It is set on a baluster-shaped stem that is embellished...

A stunning true pair of French 19th century Renaissance st. black Belgian marble, ormolu and patinated bronze, five arm candelabras, attributed to F. Barbedienne. Each candelabra is ...