Bolognese School of the 16th Century - Mummy of Saint Catherine of Bologna

Flemish school of the 16th century Allegory of Africa
After The Allegories of the Continents by Maerten de Vos (engraving by Adriaen Collaert)
 Oil on copper
 Inscription: "Giulio Ro...

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...

Italian school table of the 16th century "Crucified Christ with the Virgin, Saint John and Mary Magdalene" Oil on board Period frame 16th century ( gold frame parts ) Measures: 41cm ...

The Madonna and Child Oil Painting in a Rose Garden – Flemish (Ambrosius Benson School) Late 16th Century/ Early 17th Century Flemish Oil Painting on Oak Panel Artist & Background This exquisite Flemish Renaissance Madonna and Child oil painting, titled Madonna and Child in a Rose Garden, is attributed to a follower of Ambrosius Benson (circa late 16th - early 17th century). Benson, originally from Lombardy, Italy, became a renowned master painter in Bruges, Flanders, in the early 1500s.. Key Features of This Madonna and Child Painting: Period & Style – Late 16th-century Flemish School, influenced by Gerard David and Leonardo da Vinci. Medium – Oil on oak panel, a signature technique of Flemish masters. Composition – The Virgin Mary and Christ Child are set in a serene rose garden, symbolising purity and divine love. Influence – This artwork reflects both Netherlandish precision and Lombard artistic traditions. Provenance & Demand: Benson’s followers were widely sought after, and his compositions commanded high market value among collectors. Antique Hand-Carved Frame Old Master Madonna and Child Artwork This painting is housed in an original 17th-century hand-carved wooden frame featuring a classic egg-and-dart motif. Condition Report Conservation Status: Professionally cleaned. Historical Cracking: Some age-related panel cracks are common in antique oil paintings. Restoration: Minor retouching to the Madonna’s face, enhancing original details. Why Invest in Flemish Renaissance Art? Historical Significance – Works by Ambrosius Benson’s followers remain highly collectable in the art market. Museum-Quality Piece – Suitable for private collectors, investors, and art connoisseurs. European Heritage – A fine example of an Old Master religious painting...