Veneto- Saracenic candlestick - 15th century

About the Item

Veneto- Saracenic candlestick Engraved bronze 15th century 13 x 8,5 cm This rare candlestick exemplify exquisite craftsmanship, featuring a bell-shaped base with a flared foot adorned with intricate engraved patterns. The decoration consists of interwoven geometric designs and floral motifs that showcase remarkable precision. Above the base sits a flat, circular platform with slightly downward-curving edges, designed to catch wax drippings. This platform continues the engraved decoration, ensuring a seamless visual flow across the structure. The stem is richly embellished with intricate bands of decorative motifs, culminating in a hollow opening intended to hold a candle. The candlestick bear a coat of arms of a rampant wolf in a typical European style: flat at the top and tapering toward the bottom. Despite their European shape and the inclusion of coats of arms, the decorative elements of these candlesticks are distinctly Mamluk in style. Intended primarily for the Italian market, they are notably smaller than those crafted for a Mamluk clientele, which could be two to three times larger. The candlesticks reflect the technical innovations of Islamic metalworkers, particularly their advanced use of sand-casting for vessels and three-dimensional forms—a method that predated its widespread adoption in Europe by several centuries. These pieces were cast in multiple sections and meticulously assembled to achieve their final form. The engraved arabesques, thread-like scrolls, acanthus leaves, and palmettes provide a striking contrast to the coats of arms, which is the only Western elements on this object. This combination of Eastern and European influences defines a category of artworks known as Veneto-Saracenic. This term refers to a group of metal vessels produced between the 14th and 16th centuries that blend Middle Eastern craftsmanship with European stylistic features. Initially believed to have been created in Muslim workshops in Venice, these objects are now understood to have been produced in the Near East—particularly Egypt and Syria—specifically for Western clients. This candlestick serve as rare examples of how Venetian upper bourgeoisie and nobility embraced Orientalist influences during the late Renaissance. The fall of Constantinople in 1453 and the subsequent rise of the Ottoman Empire positioned Venice as the principal commercial ally of Istanbul, the new economic hub of the region. This close relationship undoubtedly influenced Venetian tastes, fostering an appreciation for Orientalist culture. The group of works known as Veneto-Saracenic testifies to this fascination and cross-cultural exchange, offering a glimpse into the rich artistic dialogue between East and West at a pivotal moment in history. Bibliography: Auld, Sylvia. Renaissance Venice, Islam and Mahmud the Kurd: A Metalworking Enigma. London: Altajir World of Islam Trust, 2004. Carboni, Stefano, ed. Venice and the Islamic World, 828–1797. Exhibition catalogue. New Haven: Yale University Press, 2007. De Hond, Jan, and Mols, Luitgard. “A Mamluk Basin for a Sicilian Queen.” The Rijksmuseum Bulletin 59, no. 1 (2011): 20, fig. 15. Dursteler, Eric R. Venetians in Constantinople: Nation, Identity, and Coexistence in the Early Modern Mediterranean.Baltimore: Johns Hopkins University Press, 2006. Howard, Deborah. “Death in Damascus: Venetians in Syria in the Mid-Fifteenth Century.” Muqarnas 20 (2003): 143–157. Mack, Rosamond E. Bazaar to Piazza: Islamic Trade and Italian Art, 1300–1600. Berkeley: University of California Press, 2002. Ward, Rachel, and Susan La Niece. “‘Veneto-Saracenic’ Metalwork: An Analysis of the Bowls and Incense Burners in the British Museum.” In Trade and Discovery: The Scientific Study of Artefacts from Post-Medieval Europe and Beyond, edited by Duncan R. Hook and David R. M. Gaimster, Occasional Paper 109. London: British Museum Press, 1995

Dimensions:
Height: 4.34 in (11 cm)Diameter: 3.35 in (8.5 cm)
Style:
Renaissance (Of the Period)
Materials and Techniques:
Bronze,Engraved
Place of Origin:
Italy
Period:
15th Century and Earlier
Date of Manufacture:
15th century
Condition:
Wear consistent with age and use.
Seller Location:
Bruxelles, BE
Reference Number:
1stDibs: LU6666243873172

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Antique 15th Century and Earlier Italian Renaissance Figurative Sculptures

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Embriachi workshop marquetry casket - Northern Italy, 15th century

Located in Bruxelles, BE

Embriachi workshop marquetry casket Northern Italy, 15th century Alla certosina inlays (bone, stained bone, pewter and wood) H 28.2 x W 18 x D 14 cm This beautiful casket of rectangular form is richly decorated with the characteristic geometric patterns of the Embriachi style. The intricate geometric patterns are fashioned by juxtaposing lighter and darker pieces of wood, (colored) bone, horn and pewter. The lid and base are framed by a broad band of horn. When ivory became scarce in Europe due to disrupted trade routes, bone was substituted. The attention to Symmetry and balance created an harmonious visual effect Enhancing the overall aesthetic appeal of the casket. The application of geometrical motifs is in Italy known as marquetry ‘alla Certosina’, named after the Certosina Church in Pavia with its famous altarpiece decorated in this way. This is ‘intarsia technique’, a term derived from the Arabic 'tarsi', which means ‘incrustation' recalling ancient mosaics made from various materials. These geometric elements not only enhance the aesthetic appeal of the caskets but also demonstrate the versatility and skill of the artisans in creating multifaceted works of art. ‘Alla Certosina’ became famous through the Northern Italian Embriachi family who achieved a particularly high standard in working in this technique. Venice in particular was known for the production of these luxurious boxes. The caskets, hexagonal or rectangular, surmounted by a lid decorated in several registers constitute the secular, albeit equally renowned component of the workshop’s production, in addition to mirror frames and various everyday objects. The method of fabrication of those objects was based on two concepts that underlay pre-industrial production: standardization and modularity, thanks to a distribution of skills according to the different phases of fabrication. even the realization of the marquetry motifs (in the form of ingots from which portions of the desired size were cut) were therefore entrusted to various specialized craftsmen, as were the assembly phase. Today better known thanks to the extensive research work recently carried out by Michele Tomasi, this workshop owes its name to its founder and owner, the Florentine Baldassare Ubriachi (or degli Embriachi), a merchant and banker established in the Tuscan capital before he settled in Venice in 1395. Together with sculptor Giovanni di Jacopo, who directed the workshop, from the last years of the fourteenth century, Baldassare oversaw a production that was truly original, and still easily recognizable today, comprising monumental altarpieces and various objects, primarily triptychs and caskets. The precise location of the workshop is unknown, except that it originated in Florence and in ca. 1431 there was apparently a workshop in Venice, in the area of S Luca. They employed local workers specializing in 'certosina' (inlay of stained woods, bone and horn), and the workshop produced items carved in bone (usually horse or ox) with wood and bone marquetry. The geometric decoration of Embriachi caskets reflects the artistic complexity and attention to detail that characterized their work. this inlaid casket is a testament to the skill and artistry of the Embriachi family and serves as a stunning example of the decorative arts of the late Middle Ages. Related Literature : E. Berger, Prunk-Kassetten: Europäischen Meisterwerke aus acht Jahrhunderten / Ornamental Caskets...

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