Renaissance Objets d'Art and Vertu

* PURCHASED AT CHRISTIE'S, NYC * This diminutive bronze was given **pride of place** astride massive red porphyry columns in the Chicago penthouse of famed philanthropic collectors, James & Marilyn Alsdorf, underscoring Hercules' commanding presence, even when surrounded by life-sized statuary (cf. Christie's Alsdorf Collection video of 8/18/2020 @ 0:08s - 0:10s). ORIGINAL OWNER: CHAIRMAN, ART INSTITUTE OF CHICAGO **1963 AIC MUSEUM LABEL & COLL. NUMBER ATTACHED!!** Nicolo Roccatagliata (c.1593 - c.1636) A Venetian Bronze Statue of Hercules 17th century, Circa 1600 Beginning his metalwork apprenticeship in Genoa at the prodigious age of 10, Nicolo Roccatagliata was a pupil of A. Groppo, later working for Tintoretto. Roccatagliata's darkly patinated bronzes of classical & religious subjects adorn the world's finest museums. Original to the artist's 17th century studio (in contrast to a proliferation of later Grand Tour copies), the present model's late Renaissance date is evinced by the variegated patination, unforced natural modeling, and archaic casting methods (which continued under his son, Sebastiano). Marked by superior rendering of the abdominal musculature & posterior flesh, a 16th century Renaissance contrapposto in Hercules' stance is counterbalanced by an evident trend towards early 17th century mannerism in the stylized treatment of the hair, beard, and eyes. While the Vienna version (provenanced by 1924) is argued by some to be the finest from Roccatagliata's workshop, Yale University's (London, 1958) has finer details. Yet, these details betray the Yale model's origins as a sophisticated product of an 18th/19th century copyist, who worked from an entirely new wax model, recast by later methods, and intricately tooled & reimagined the surface into an almost plastic patina. Still, the Vienna statue...

A Gucci money clip, crafted in sterling silver. Features an intricately carved feline head with purple zircon eyes, embodying fierce elegance and refined design. Brand: Gucci Metal ...

The cameo at the center of this exceptional pendant is a stunning example of the art of gem engraving during the Renaissance. It likely dates to the early 17th century and features a sacrificial scene inspired by the Greco-Roman era. The central flaming altar is flanked by two figures preparing to sacrifice a ram, while a figure in a lion skin blowing horns stands in the left corner. The carver brilliantly uses the natural layers of the stone to achieve the illusion of shadow and musculature on the figures. A second, smaller cameo is set at the top of the pendant, while a myriad of multi-colored gems, pearls and enamel adorns the 18K gold setting. A large Baroque pearl suspended from an enamel dragon finishes the design, which embodies the opulence and theatricality of jewels from the Renaissance age. Cameos and intaglios were highly popular amongst wealthy connoisseurs in Renaissance Italy, and owning the finest pieces was the privilege of princes. Although they were often elaborately mounted for display alone, cameos were also frequently worn as pendants, surrounded by enameled and stone-set gold frames. Such pieces were particularly prized by the Medici and Lorraine families, many of which can now be seen at the National Archeological Museum in Florence. Very few Renaissance cameos...

* PURCHASED AT CHRISTIE’S, NYC * JACOB VAN OOST (1603-1671) TRONIE STUDY FOR A NATIVITY SHEPHERD, CIRCA 1628 IN THE ADORATION OF THE SHEPHERDS (1630) THE HERMITAGE MUSEUM, SAINT PET...

Legend Collection by Lladró "Divine Love" Porcelain No. 8 w/ 18K Gold & Diamonds Amor Divino: A Masterpiece of Love and Purity Step into a realm of divine artistry with Amor Divino...

France, circa 1550 This one of a kind, museum rarity, Renaissance gilt bronze ring features a Limoges enameled copper plaque superbly pai...