Renaissance Decorative Objects

19th Century Renaissance Style Pompeian Red Porcelain Urns Beautiful piece purchased in France. Age appropriate wear, see detailed photos or message us with questions.

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

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...

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 ...

Pair of 16th Century Italian carved polychromed angelic sculptures.

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...

Grotesque vase, unique piece, 2017, glazed earthenware and gold, 22cm width x 60cm height Antonietta Mazzotti (Faenza, Italy) attended the Istituto d’Arte per la Ceramica in Faenza and opened her first workshop in her hometown taking part in group and solo exhibitions at international level. In 1976 she has transformed the neo-gothic greenhouse of Villa Emaldi in her workshop. Antonietta Mazzotti has worked for some of the most important international museums and has received several important recognitions worldwide. Her works have been featured in major Italian magazines of interior design and she has acquired international visibility being featured in major international press publications, such as The New York Times. She still lives and works at Villa Emaldi in Faenza where she continues her research on historical decor...

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...

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...

This beautiful rectangular mercury mirror in carved and gilded wood frame was made in the early 19th century in Venetian area of Italy. The richly carved frame is characterized by a ...

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

A striking and very high quality French 19th century Renaissance st. Rouge Griotte marble, patinated bronze, and ormolu garniture clock set. The clock at the center is raised by hand...

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...

PAIR OF MEDICI - TUSCANY POT WITH HANDLES, early 20th century. Measures: HEIGHT 45cm LENGTH 78cms DEPTH 50cm WEIGHT 20Kg MATERIALCast-iron NOTE 01 Oval base 36 X 24 Good c...

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...

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 ...

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...

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...

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

These Beautiful Italian 18th Century Black & White Engravings on Laid Paper Feature the Portrait of Female Statues, these pieces have been professionally Framed using all new Materia...

In reference to the remarkaple marble group of three larger-than-life figures, known as ‘The Rape of the Sabine Women’, which is located under the right arcade of the Loggia dei Lanz...

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...

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

A dramatic patinated bronze statue depicting a mounted crusader on his rearing horse ready to strike a mortal blow to a fallen Saracen lying beneath him on a rocky landscape. In a desperate attempt to defend himself the Saracen is shown thrusting his sword into the chest of the the crusader's horse. The bronze grouping is mounted on a green scagllola painted marble base with gilt bronze trim. While the bronze is not signed it had to be cast after a hugely famous bronze very similar statue by Jean-François-Théodore Gechter (1795, Paris - 1844, Paris) titled "The Combat of Charles Martel...

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...

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...

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...

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...

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...

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...

A stunning and finely crafted bronze bust depicting a noblewoman in Renaissance-style attire. This captivating sculpture is a superb example of 19th-century neoclassical artistry, r...

An exceptional pair of French 19th century Renaissance st. ormolu candlesticks. Each candlestick is raised by an elegant and most decorative triangular base with lavish scrolled foli...

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...

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

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...

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

A striking and most decorative pair of French 19th century Renaissance st. ormolu and Sarrancolin marble urns. Each urn is raised by handsome paw feet below elegant lightly curved su...

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...

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...

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...

A striking and extremely decorative pair of French 19th century Renaissance st. patinated bronze, Opaline, and black Belgian marble ewers/urns. Each urn is...

A terracotta bust "Ecce Homo" Florence, 15th century 53 x 44 x 31 cm

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...

A handsome and most decorative pair of French 19th century Renaissance st. patinated Bronze urns. The urns are raised by square bases displaying the inscription "Societé des Bronzes" below a mottled border and a fluted socle pedestals. At the body are finely detailed oak leaves and acorns with Greek key bands. The handles displays richly chased wild boar heads and striking column designs with mirrored busts...

A charming and high quality pair of French 19th century Renaissance st. patinated bronze lidded urns, attributed to Auguste-Maximilien Delafontaine. Each urn is raised by a square ba...

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...

"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...

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...

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...

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

PAIR OF LARGE ITALIAN CAST IRON GOBLETS end 19th century HEIGHT 57cm WIDTH 64cms DEPTH 49cm ROUND BASE DIAMETER Ø 23 cm good conditions.

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

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...

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...

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 ...

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...

A fine pair of French 19th century Renaissance st. patinated bronze, ormolu Rouge Griotte, and Black Belgian marble tazzas. Each tazza is raised by a circular black Belgian marble ba...