Renaissance Furniture

A rare and very fine bronze corpus of Christ after a model by Michelangelo, cast ca. 1597-1600 by Juan Bautista Franconio and painted in 1600 by Francisco Pacheco in Seville, Spain. The present corpus reproduces a model attributed to Michelangelo. The best known example, lesser in quality, is one on display at the Metropolitan Museum of Art (MET). The association of this corpus with Michelangelo was first brought to light by Manuel Gomez-Moreno (1930-33) who studied the wider circulated casts identified throughout Spain. The attribution to Michelangelo was subsequently followed by John Goldsmith-Phillips (1937) of the MET and again by Michelangelo expert, Charles de Tolnay (1960). While Michelangelo is best known for his monumental works, there are four documented crucifixes he made. The best known example is the large-scale wooden crucifix for the Church of Santa Maria del Santo Spirito in Florence, made in 1492 as a gift for the Prior, Giovanni di Lap Bicchiellini, for allowing him to study the anatomy of corpses at the hospital there. In 1562, Michelangelo wrote two letters to his nephew, Lionardo, indicating his intention to carve a wooden crucifix for him. In 1563 a letter between Lionardo and the Italian sculptor Tiberio Calcagni, mentions this same crucifix (a sketch of a corpus on the verso of a sheet depicting Michelangelo’s designs for St. Peter’s Basillica [Palais des Beaux-Arts in Lille] may reproduce this). That Michelangelo was working on small corpora in the last years of his life is further evidenced by the small (26.5 cm) unfinished wooden crucifix located at the Casa Buonarroti, considered his last known sculptural undertaking. Michelangelo’s contemporary biographer, Giorgio Vasari additionally cites that Michelangelo, in his later years, made a small crucifix for his friend, Menighella, as a gift. Surviving sketches also indicate Michelangelo’s study of this subject throughout his career, most notably during the end of his life but also during the 1530s-40s as he deepened his spiritual roots. The occasional cameo of crucified Christ’s throughout his sketched oeuvre have made it challenging for scholars to link such sketches to any documented commissions of importance. All the while, in consideration that such objects were made as gifts, it is unlikely they should be linked with commissions. Nonetheless, a number of theories concerning Michelangelo’s sketches of Christ crucified have been proposed and some may regard the origin of the present sculpture. It has been suggested that the corpus could have its impetus with Michelangelo’s work on the Medici Chapel, whose exclusive design was given to the master. It is sensible smaller details, like an altar cross, could have fallen under his responsibility (see for example British Museum, Inv. 1859,0625.552). Others have noted the possibility of an unrealized large marble Crucifixion group which never came to fruition but whose marble blocks had been measured according to a sheet at the Casa Buonarroti. A unique suggestion is that Michelangelo could have made the crucifix for Vittoria Colonna, of whom he was exceedingly fond and with whom he exchanged gifts along with mutual spiritual proclivities. In particular, Vittoria had an interest in the life of St. Bridget, whose vision of Christ closely resembles our sculpture, most notably with Christ’s proper-left leg and foot crossed over his right, an iconography that is incredibly scarce for crucifixes. The suggestion could add sense to Benedetto Varchi’s comment that Michelangelo made a sculpted “nude Christ…he gave to the most divine Marchesa of Pescara (Vittoria Colonna).” Of that same period, two sketches can be visually linked to our sculpture. Tolnay relates it to a sketch of a Crucified Christ at the Teylers Museum (Inv. A034) of which Paul Joannides comments on its quality as suggestive of preparations for a sculptural work. Joannides also calls attention to a related drawing attributed to Raffaello da Montelupo copying what is believed to be a lost sketch by Michelangelo. Its relationship with our sculpture is apparent. Montelupo, a pupil of Michelangelo’s, returned to Rome to serve him in 1541, assisting with the continued work on the tomb of Pope Julius II, suggesting again an origin for the corpus ca. 1540. The earliest firm date that can be given to the present corpus is 1574 where it appears as a rather crudely conceived Crucifixion panel, flanked by two mourners in low-relief and integrally cast for use as the bronze tabernacle door to a ciborium now located at the Church of San Lorenzo in Padula. Etched in wax residue on the back of the door is the date, 27 January 1574, indicating the corpus would have at least been available as a model by late 1573. The Padula tabernacle was completed by Michelangelo’s assistant, Jacopo del Duca and likely has its origins with Michelangelo’s uncompleted tabernacle for the Basilica of St. Mary of the Angels in Rome. The impetus for the Padula tabernacle’s Crucifixion panel begins with a series of late Crucifixion sketches by Michelangelo, depicting a scene of Christ crucified and flanked by two mourners (see British Museum Inv. 1895.0915.510; Ashmolean Museum Inv. 1846.89, KP II 343 recto; Windsor Castle RCIN 912761 recto; and Louvre Inv. 700). A faintly traced block possibly intended for sculpting the sketch of the crucified Christ on its recto was discovered by Tolnay on a version of the composition at Windsor Castle. The Windsor sketch and those related to it appear to have served as preparatory designs for what was probably intended to become the Basilica of St. Mary’s tabernacle door. Vasari documents that the project was to be designed by Michelangelo and cast by his assistant, Jacopo del Duca. Michelangelo died before the commission was complete, though on 15 March 1565, Jacopo writes to Michelangelo’s nephew stating, “I have started making the bronze tabernacle, depending on the model of his that was in Rome, already almost half complete.” Various circumstances interrupted the completion of the tabernacle, though its concept is later revitalized by Jacopo during preparations to sell a tabernacle, after Michelangelo’s designs, to Spain for Madrid’s El Escorial almost a decade later. The El Escorial tabernacle likewise encountered problems and was aborted but Jacopo successfully sold it shortly thereafter to the Carthusians of Padula. An etched date, 30 May 1572, along the base of the Padula tabernacle indicates its framework was already cast by then. A 1573 summary of the tabernacle also describes the original format for the door and relief panels, intended to be square in dimension. However, a last minute decision to heighten them was abruptly made during Jacopo’s negotiations to sell the tabernacle to King Phillip II of Spain. Shortly thereafter the commission was aborted. Philippe Malgouyres notes that the Padula tabernacle’s final state is a mixed product of the original design intended for Spain’s El Escorial, recycling various parts that had already been cast and adding new quickly finished elements for its sale to Padula, explaining its unusually discordant quality, particularly as concerns the crudeness of the door and relief panels which were clearly made later (by January 1574). Apart from his own admission in letters to Spain, it is apparent, however, that Jacopo relied upon his deceased master’s designs while hastily realizing the Padula panels. If Michelangelo had already earlier conceived a crucifix model, and Jacopo had access to that model, its logical he could have hastily employed it for incorporation on the door panel to the tabernacle. It is worth noting some modifications he made to the model, extending Christ’s arms further up in order to fit them into the scale of the panel and further lowering his chin to his chest in order to instill physiognomic congruence. A crude panel of the Deposition also follows after Michelangelo’s late sketches and is likewise known by examples thought to be modifications by Jacopo based upon Michelangelo’s initial sculptural conception (see Malgouyres: La Deposition du Christ de Jacopo del Duca, chef-d’oeuvre posthume de Michel-Ange). Jacopo’s appropriation of an original model by Michelangelo for more than one relief on the Padula tabernacle adds further indication that the crucifix was not an object unique to Jacopo’s hand, as few scholars have posited, but rather belongs to Michelangelo’s original...

Pair of pillows featuring a Fortuny fabric, known for their luxurious, hand-printed designs with a distinctive Venetian style. It is one of Fortuny's classic styles that often showc...

19th Spanish refectory desk table with solomonic legs and iron stretcher Original perfect condition Top table in perfect shape. Very heavy piece

A large fragment of Venetian Silk Velvet Dating from late 16th Century One silk selvage edge present Study / document piece. Historic time worn appeal. Please study photographs ...

A beautiful late 18th century cabinet in the best quality solid oak. This is a typical 'kussenkast' or pillow cabinet. Pillow refers to the shape of the...

An exceptional monumental antique French Renaissance bookcase cabinet In the manner of R.J. Horner & Co. France, Circa 1900 Ornate carved walnut with female busts, faces, and foli...

Antique Italian Pietra Dura Hardstone Wood Ormolu Cabinet on Stand Italian, Late 19th Century Height 227cm, width 141cm, depth 46cm Rich in detail and craftsmanship, this magnific...

18th century Italian wall decorative panel frieze with stunning hand-carved gilded relief. The decorative gilt relief motif is very classical, hand-carved with alternating love knots...

Large Pair of English Renaissance Repousse Brass Candlesticks. Seventeenth century English embossed brass candlesticks from about 1650. This rare pair of beautifully created candle ...

CANOPY BED IN HAMMERED AND GILDED WROUGHT IRON   ORIGIN: SPAIN PERIOD: 16TH CENTURY   Height: 270 cm Length: 152 cm Depth: 240 cm   (Base: H. 206 cm; W. 148 cm)   Hammered and gilded...

Exceptional Genoese cabinet called stipo "a bambocci" from the Italian Renaissance in walnut from the end of the 16th century with its original base Museum quality piece Provenance:...

Rare and Stunning 17th century Italian Renaissance walnut center table. This majestic library table was hand-carved in Italy during the early 1600’s. Two thick planks of rich walnut...

It is a delightful classic Venetian mirror from the island of Murano in gold color with white gold flower finish, engraved and worked entirely by hand according to the Murano traditi...

Superb 19th century Antique French Dark Oak “Hunt Cabinet”, Bookcase, Vitrine or Display Cabinet! Direct from France, and one of several exquisite glass door bookcase/cabinets from...

Vintage French Victorian Renaissance Figural Triple Cherub Musician Metal Table Lamp with Blue/Green and Gold Distress Painted Finish. Circa Mid 20th Century. Measurements: 43.5" H (...

An Italian Renaissance style walnut Fratino table from the 18th century from a private house of Milan. Born in Italy during the first half of 18th century, this exquisite solid waln...

This is a wonderful pair of antique Renaissance Curule or Savonarola Style Chairs with carved loins heads beneath carved scrolls on the arm posts and a carved crest between the posts...

This Absolutely Magnificent Famous Bedroom, has stared in a movie! Its a rare 4-piece bedroom set is a fantastic piece of Artwork. The Bedroom features an Absolutely Fabulous Heavil...

This Absolutely Magnificent Rare5-piece bedroom set is a fantastic piece of Artwork. The Bedroom features a Fabulous Heavily Carved Bed with Wow Factor Female statues to the Footboar...

A fine quality Vintage Chippendale Style Mahogany Desk with a richly restored top and sympathetically restored drawer area. The solid brass p...

Carved Italian marble basin with a circular shape with a thick, sturdy rim and four symmetrical protrusions that could have been used for lifting or securing the piece. The interior...

19th Century English Silvered Metal 'Worried Knight' Inkwell Add a touch of classical whimsy to your home or office with our tole figural knight inkwell. Made in later 19th century ...

19th Century Portuguese Table " Buffet " Twisted and trembled rosewood. Rectangular top, framed by a trembled frieze, waist with two dra...

A PAIR OF ITALIAN RENAISSANCE STYLE WALNUT SIDE CHAIRS 19TH CENTURY, INCORPORATING EARLIER ELEMENTS In solid walnut with straight seats, gilt acanthus leaf finials, carved front st...

Oil on canvas. Signed lower right, Hermann Emil Pohle. The painting is a genre piece. A Renaissance style hunting scene. The hunting horn is blown before...

The cabinet’s upper body, slightly recessed is topped by an overlapping entablature and cornice supported both in the front and the rear by four fluted columns. The lower body stands on four squared feet and a moulded base. Each door-leaf’s panel is centred by a low-relief carving presenting one of the four evangelists...

19th century Spanish Renaissance buffet was sculpted from dense, old-growth oak with glorious full relief depictions. Set upon a brilliantly...

Madonna and child, Classical 19th century painting. This lovely oil painting was purchased in Spain. The artist is unknown. The painting still maintains its original finish and ha...

Renaissance cabinet from Burgundy Or Lyon Region Origin : Burgundy Or Lyon, France Period : Second Half 16th Century, C. 1580 Height : 209cm Length : 184cm Depth : 71cm Good condition Walnut wood, original keys and keyholes Around the middle of the 16th century the conception and ornamentation of French furniture evolves. The start of major building projects, such as the castle of Fontainebleau, gives artists a new impulse. Inventive and rich formulas are developed there, before spreading to all of Europe thanks to engravings and printed leaflets. Furthermore, Italian artists working on such construction sites bring French artists and patrons a renewed taste for the Antique. Regarding the art of furnitures, the most complex scenes and figures are drawn from illustrated books, ornament and emblem compendiums and engraving compilations. Rather than copying those images the artisans feed their inspiration and decline the motifs in numerous variations. The ornamental grammar marks a return to the Antique : palm leaf, acanthus, egg-and-dart, greek, scroll, fluted pilaster… It is in Primaticcio’s and Il Rosso’s stuccos made around 1540-1550 that we have to look for the origin of leather cut-outs, masks, chimaeras, harpies, sheathed figures, fruit and flower garlands that soon enrich every pieces of French furniture. The structure of the pieces of furniture also evolve thanks to the re discovery of Antique architectures, rigorously used as a model. This cabinet presents an imposing structure and a rich and original decor exemplifying the production of the late 16th century, infused with Italian, Antique and Fontainebleau influences. It stands on a moulded base ornate with palm leaves. It opens with four door-leaves and two drawers in the belt. Six whimsical terms divide the facade. The lower body is horizontally divided by three sheathed female terms. The two standing on the lateral posts are topped with fruits while the body is covered by acanthus leaves carved with precision, belted at the waist. The term standing on the central door-jamb is crowned with laurel leaves and is draped in the Antique fashion. A wincing mask hides the key hole. The two door-leaves are centred by a beautiful mask carved in a strong relief. They wear stylised feathered headdress and are set on draperies. Straps, leather scrolls, acanthus leaves and a shell are spread around the masks. The recessed panels are secured in frames ornate with acanthus leaves. The belt is flanked by two large mouldings enriched with variations of acanthus leaves. The drawers are carved with choux bourguignons and palm leaf motifs minutely executed. The consoles between each drawer bear tormented wincing masks, showing horns as if they were fauns or imps. The upper body is framed by two male terms characterised by a strong and nervous musculature, their manhood hidden by drapes secured thanks to a winged lion head. The term on the left appears to be younger and is wincing while the one on the right has a beard. The central female term brings contrast with her youth and sensuality. As it is the case on the lower body, the key hole is hidden behind the mouth of a faun’s mask placed on the drapes barely covering the intimacy of the caryatid. The panels of the upper body present an idealised architecture comprising pilasters and sinuous broken pediments. The pilasters are flanked by two satyrs with goat legs. In the centre appears an important lion mask. The terms of the upper body support the cornice. The entablature carries palm leaves and roses alternating as well as an egg-and-dart frieze. The cornice is adorned with acanthus motifs. On the sides, the carving is executed flat. A central rose is surrounded by scrolls, flowers and choux bourguignons. We can admire the variety of the elements employed. The artist vary with great genius many different ornamental motifs : palm leaf, egg-and-dart, laurel leaf, roses, scrolls … But the artist went even further as each profile and each face is individualised and presents different features. You can take a look at the faces of the satyrs flanking the upper body’s panels. The talent of the artist is undeniable. It makes no doubt the patron who commissioned this cabinet was an aesthete looking for the greatest quality. The artist who authored this cabinet had a great mastery of composition both in the general design and in the individual panels. They probably drew inspiration from engravings and drawings made especially for the making of this piece of furniture or not. They seem to be familiar with the style of Jacques Androuet du Cerceau. Indeed, we can find in Du Cerceau’s engravings the same juxtapositions of leather cut-outs, masks and fruits. The terms and caryatids used on the facade could very well be inspired by his work as well. The cabinet-maker was also undoubtedly observant of Hugues Sambin, the most famous cabinet-maker and sculptor in the Burgundy of the time. Like Du Cerceau, Sambin left an important ensemble of models particularly useful for the design of cabinets. His publication De l’Oeuvre de la diversité des termes dont on use en architecture (1572) was an essential book for every artisan. All the motifs testify of the artisan’s high knowledge of forms as well as the precision of their tools : super imposition of ornamental elements, foliages, architectural cut-outs, flat and high reliefs alternating, palm leaves inscribed in circular spaces, wincing faces. It is also a testimony of the artisan’s familiarity with Italian and Fontainebleau productions. Because of the proficiency of the cabinet-maker in so many different models, this cabinet truly is a master-piece authored by the hand of an authentic master. The generous carvings executed with great rigour and virtuosity evoke an origin close to Burgundy and Lyon workshops. This cabinet was made by a master of the region during the Second French Renaissance. Literature BOCCADOR Jacqueline, Le mobilier français du Moyen-Âge à la Renaissance, Édition d’art Morelle Mayot, 1996 BOS Agnès (dir.), Mobilier du Moyen âge et de la Renaissance, La collection du musée du Louvre, Louvre éditions...

Set of four Italian walnut Savonarola armchairs ORIGIN : FLORENCE, ITALY PERIOD : LATE 15TH CENTURY - EARLY 16TH CENTURY Measures: height : 102 cm 40.15 inches, height : 93 cm 36.61 inches length : 68 cm 26.77 inches, length : 68 cm 26.77 inches depth : 55 cm 21.65 inches, depth : 50 cm 19.68 inches Walnut Very good condition This movable Italian seat from the late 15th century descents from the roman curule seat. It took the name of sedia Savonarola...

An extraordinary Italian Renaissance wooden cabinet from the 1500s awaits the discerning collector. This antique lacquered furniture piece, dating back to the 16th century, showcases...

This Flemish panel painting, dated circa 1620, masterfully depicts the Holy Family and young Saint John the Baptist. A Flemish School altarpiece work of art, a masterfully achieved ...

On offer here is an antique four-door cupboard, in Dutch, named “Kussenkast”, that was made in the Northern Netherlands in the late 17th century. This cupboard takes its name from th...

Renaissance-style armour, circa 1880

Baldaquin -/ large four-poster bed in carved gilded wood: the 4 feet/posts are carved with foliage and flowers The headboard, as well as the 4 sides of the canopy are decorated with...

Old pair Deruta majolica pottery covered urn jars, circa early/mid 20th century. Hand painted all around with country landscape scenes of lakes and mountains. 16 1/2" high, 8" diamet...

A rare carved walnut wardrobe opening with four door-leaves and two drawers in the lower part. The doors bear architectural views in low reliefs, fluted pilasters and Ionic capitals. Upper Body Two door-leaves with carved architectural perspectives open the wardrobe framed by three fluted pilasters with Ionic capitals. Each door-leaf depict two semi-circular arcades whose cornice and base shows a central vanishing point. Likewise the pavement’s lines act for the artisan as a way to create depth. The vaulting instead leads us to think the vanishing point has to be situated where the handle is, between the two complementaries reliefs. The elegant moulded belt hides an internal secret space, accessible through a moveable plank in the upper body. Lower Body Two door-leaves identical to those of the upper body framed by three fluted pilasters with Doric capitals. The base of the wardrobe opens with two large drawers. The sides also bear panels depicting architectural perspectives. The external pilasters share their Ionic capital with the facade’s pilasters. Thus we can observe on the wardrobe’s sides the capital’s lateral parts with the elegant volute specific to the Ionic order. This palace wardrobe is topped by an overlapping cornice standing on three consoles for the facade and two consoles on each sides. Placed right above the pilasters each console are adorned by fully expanded leaves. During the 15th century a major interest for architecture and perspective studies arises and influences patrons tastes. The work of great theorists such as Leon Battista Alberti...

An imposing and richly detailed French Renaissance Revival buffet à deux corps, crafted in the 19th century from solid oak. This exceptional piece embodies the opulence and artistry ...

Early Arista y Cuenca tile made in Toledo. Azulejo Toledano. Alhambra tile decorated in renaissance mudejar style geometrical design. Probably made between 1550 and 1575. In very g...

A fantastic gray and white limestone table, the richly carved legs are after table supports found during excavations of Pompeii in the mid- to late-1800s (from Casa di Cornelio Rufo)...

Stunning Late 19th Century Neo Renaissance Style lion head Savonarola Throne chair with a mahogany frame, carved details, & loose seat cushion with original velvety wine colored fabric. Beautiful condition, keeping in mind that this is vintage and not new so will have signs of use and wear even if it has been refinished or restored. Specifically, under the lion on the left (if you are facing the chair) a piece of wood was missing so it was filled & repaired by our artisan staff. Please see photos, zoom in for details, and see long description as they are part of the condition report. We attempt to portray any imperfections. Circa, Late 19th Century. Lions have been associated with royalty and valor for centuries… A symbol of strength and courage… King of the jungle and held in awe by humankind. This chair represents ALL of that!! What an incredible aura to bring into your home! This is a FIERCE and quite FABULOUS Savonarola throne chair comprised of a marvelous mahogany frame featuring fantastic carved lion head back finials, beautifully carved details on the top rail, a smooth mahogany back splat bearing GORGEOUS wood grain surrounded by carved acanthus leaves and floral details, and the quintessential X style base with side stretchers and lovely scroll feet. BREATHTAKING!! It has a loose seat cushion wearing its original wine colored velvety fabric; but, you may have noticed we photographed it with a couple of different seat pillows. We just wanted to show you how easy it is to swap out and how different pillows or fabrics can drastically change the look of the chair. It will come with the wine colored seat cushion unless you prefer one of the others in the photographs. You can simply request that upon purchase. Quick fact… Did you know… The title Savonarola comes from the name of Italian Renaissance Dominican friar, Girolamo Savonarola, who is renowned for his clash with tyrannical rulers and corrupt clergy. Well…No tyranny here, just an incredible chair with an interesting history!! It’s BURSTING with an unmistakable Neo Renaissance Style and it is going to make quite the statement in your living or family room across from your sofa, in a corner of your bedroom, facing the fireplace in your study, or in your sitting room next to a marvelous accent table. This is it. The chair you need to make you feel like the king… or queen of your own jungle. What are you waiting for “Your Majesty...

Middle age Gothic European Renaissance style for the jewelry box in steel with golden parts. We recognize middle age figures all around and on the top of the box and the renaissance architectural...

An antique Italian pair of Corinthian Capitals from the Renaissance period, hand carved in limestone. Minor fading, scratches due to age. Wear consistent with age and use. Circa 1500...

This is a pair of mid-century vintage Italian hand painted pottery urns with lids. This pair of urns have beautiful hand sculpted handles on either side with sculpted leaves and my...

Very rare and precious 1600s Italian massive silver crucifix in bulletin board golden wood frame Measures cm: H 40, W 26, D 6 About: On an iconogr...

From Niagara Furniture a vintage Councill Sideboard in excellent, condition with the top have recently been French polished to give it a straight from the showroom look. Simple yet ...

Vintage French Renaissance L.F. Moreau Cast Spelter Metal Boy and Girl Figural Table Lamp in White, Gold, and Blue. Circa Early 20th Century. Measurements: 45.5" H (to finial) x 35.5...

Incredibly rare Icon on Oak board dating to the 17th century and depicting Saint Matrona (Agia Matrona), this Icon was originally from Chios in Greece and was discovered in Vatopedi...

Glorious Icon on Oak board dating to the 18th century and depicting the Resurrection of Christ, this Icon was originally from Mount Athos a mountain on th...

Spectacular 18th Century Carved Walnut Renaissance Style Library Table - dining table. With a rectangular top concealing draw leaves at eithe...

Exceedingly Rare Italian Renaissance Revival style high back mahogany dining chairs, circa 1850-1870s. Each chair is hand carved with an arched and scrolled high back centered by a scalloped shell. The sides showcase figural high relief maidens mirrored...

This luxurious pillow features a stunning 19th-century silk panel with intricate metallic embroidery at its center. The antique embroidery displays an ornate floral and vine motif in...

Sterling silver bi-color chessboard and chess game in "Florence" style. The chessboard is in molten silver with red jasper and white color marble The work was engraved with the anc...

This fantastic two-piece 17th-century oak cupboard was made in Antwerp, Flanders, circa 1680. It consists of two pieces, a lower and an upper cabinet. The lower cabinet can be used w...

Fantastic reproduction of the famous saltcellar of Benvenuto Cellini, symbol of the world goldsmith's art. The master goldsmith made only very few copies of this wonderful object that makes it a unique piece in the world. 6.641 grams of solid silver. Some information on the original piece by Benvenuto Cellini: The Cellini Salt...

A large impressive solid brass footed bowl in the manner or form of Monteith. This could be used as a centerpiece planter or a wine cooler (will hold up to five bottles and does hold...

English Renaissance (Dated 1652) oak slant front bible box

17th C. Italian Tuscan Walnut Cabinet, original lock & key, original back (very good antique condition, never touched) H: 73.5 D: 22.5 W: 80.75 ...

SUPERB Carved Antique French Oak Corner Cabinet with Drawer and Key~~TALL~~c. 1890s-1900 Carved door with upper drawer and key~~two...

17th Century, Italian Oil on Panel Painting Depicting Madonna della Purità The painting, executed in oil on a circular wooden panel and presented in an imposing carved and gilded wo...