Opulent 18th Century Baroque Reliquary of Blood of Saint St. Francis '15th Cent'

Behold a captivating pair of 18th-century hand-carved wooden treasures, dating from the remarkable span of 1717 to 1780. These exquisite pieces stand as a testament to the artistic mastery of their era, adorned with original polychrome and resplendent gold gilding that portrays the venerated Saints Cosmas and Damian...

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

An assemblage made of several individual elements. A pair of early 19th century of gold gilded carved wood Russian columns. 18th Centur...

16th Century Spanish carved-wood and polychromed sculpture and altar of Saint Isidore, Patron of Farming and Gardening. He is standing in a red velvet line niche. The altar is adorne...

Important and historic, acquired from the estate of legendary American businessman, the late T. Boone Pickens, we're proud to offer this exceptional carved giltwood reliquary - monstrance from the early 18th century. Elaborately hand carved in period Rococo - Rocaille taste, with superb scrollwork, openwork, fanciful acanthus leaf and shell, ornate detailing, polychrome painted warm pastel colors, now beautifully distressed, muted tones, with remnants of gold gilded accents. Pieces such as this were used in early churches for convenient exhibition or public display of some object of piety and other important religious relics...

A scarce fine quality neoclassical Empire style vasiform gilt bronze ormolu church religious relic altar monstrance reliquary. Exquisitely hand-crafted in Continental Europe in the second half of the 19th century, most likely French Napoleon III Period (1852-1870), having a fanned cross crest, above winged angel mask, central oval display...

A French 19th century altarpiece with intaglio. This antique French altarpiece features an urn and floral motif, with a single intaglio set into the central top bouquet. This altarpi...

Base of a carved wooden candelabrum, polychrome and gilded; cross painted on both sides. Umbria or Tuscany, 16th century 136 x 43,5 x 30 cm (The cross and the base of the candelabrum were later assembled) The base of the candelabrum is intricately carved and adorned with polychrome and gilded finishes. The shafts take on the shape of balusters reminiscent of ancient columns, feature ornate foliage decorations, garlands and winged cherub faces. The feet are crafted in the likeness of lion paws. The base is further embellished with depictions of four saint martyrs, among them Saint Barbara and Saint Catherine of Alexandria. The plasticity of the figures, outlined with strong contour lines, the clear and vibrant colors, are stylistic elements linked to the Umbrian tradition of the sixteenth century.The precisely defined and elegant drawing, along with the clear color palette applied with refined chiaroscuro modulations, became the signature of a style that would leave a lasting mark on the era to come. This is exemplified by a preference for vibrant, multicolored images, accentuated in this case by the use of red and pink in the saint's attire. A notable addition, introduced later, is a polylobed cross painted on both sides. On one side, the Crucifixion is vividly portrayed:The treatment of the corpus itself is in line with High Medieval practice, emphasizing pathos by showing Jesus dead, his arms sagging from the weight of the body. The upper section displaying a pelican pecks at her breast to feed her young with her own blood; a symbol of the sacrifice of Christ on the cross whose body and blood similarly nourishes the celebrant during Mass. The lower part depicts Golgotha. On the reverse side, the Resurrection is artistically presented in a Renaissance iconography, reminiscent of the renowned composition painted by Piero della Francesca, now housed in the Civic Museum of Sansepolcro. In terms of composition, with the frontal depiction of Christ holding the banner, this motif became particularly widespread in central Italy, spanning from Tuscany to Umbria throughout the 16th century.. The double-sided construction suggests that it may also have been carried in liturgical processions. In Umbria from the 14th century, the use of portable crosses painted on both sides had become a widespread practice, aimed at satisfying the monastic clientele that had significantly increased following the establishment of new religious communities. The earliest surviving Tuscan painted crucifix represent Christ as Christus Triumphans, or the “Triumphant Christ” with his head up and eyes open. This form was supplanted in the 13th century with the Christus Patiens, or “Suffering Christ” type who is shown often with his head fallen on his shoulder and his eyes closed, as In our cross. The iconography of the suffering Christ appears to have developed out of a new interest in Christ’s human nature, the development of the feast of Corpus Christi and with increased importance given to the Eucharist. The process of humanizing the figure of Christ reaches its peak with the abandonment of all the previous expressive conventions in favor of more realistic details we can observe in this Crucifix, such as the swollen belly, the arms stretched to the limit of muscle tearing, the body falling heavily forward, the abundant blood on the wounds, and the cross firmly embedded in the rock of Calvary. It's worth noting that Renaissance candelabra...