Sculpture Bust Statue, 16th Century Italian Renaissance Marble Angel

Renaissance Harpy bronze Italy, 16th century 15 x 12 x 5,5 cm This expressive bronze figure represents a harpy, a mythological creature with the body of a bird and the head and tor...

North Italian, 16th century Bust of the emperor Vitellius Bronze, on later bronze socle, lead support to reverse 18 cm. / 7 ins (the bust), 23 cm. / 9 ins overall This small yet attractive all’antica bust of a Roman emperor is inspired by a bust in Venice thought to depict Vitellius (15-69 AD), who ruled Rome for only eight months in 69 AD before he was overthrown by Vespasian. The Vitellio Grimani, also known as the pseudo-Vitellius, was discovered in Rome in 1505 during excavations on the Quirinale on land owned by the Venetian cardinal Domenico Grimani (1461-1523). On the death of Grimani the Vitellius was sent to Venice and bequeathed to the Republic of Venice, where it was displayed at the Palazzo Ducale from 1525 to 1593. It is now in the Museo arceologico nazionale di Venezia (inv. 20) and regarded as a portrait of an unknown Roman from the first half of the second century AD. The present small bust, with its rough, waxy surface and imaginative adaptation of the antique model on which it is based, bears all the hallmarks of Renaissance bronze modelling in the north of Italy. Indeed, the vigorous modelling is reminiscent of the works by Andrea Briosco, called Il Riccio (1470-1532), who worked in Padua in the Veneto and specialised in small bronzes based on antique subjects. See, for example, his head of Bacchus (private collection, offered at Sotheby’s London in 2021), which has a similarly waxy treatment of the hair. The fantastical lion-mask on the breastplate, with its stylised face and unusual braids of hair, is also typical of the imaginative re-working of antique motifs by Renaissance artists. This indicates that the present bust is probably by a follower of Riccio working in Padua or another centre of classicism in the Veneto. RELATED LITERATURE: L. Planiscig, 'Andrea Riccio...

Pair of 16th Century Italian carved polychromed angelic sculptures.

Sea monster Carrara marble mouth fountain Italy, late 16th century It measures 13.8 x 31.5 x 18.9 in (35 x 80 x 48 cm) State of conservation: some small evident gaps and widespread signs of wear due to outdoor exposure. The gray marks crossing it do not come from restoration, but are rather the natural veins of the marble. This work has some morphological characteristics typically associated with the iconography of the sea monster: an elongated muzzle, sharp teeth, protruding eyes, elongated ears, and a coiled serpent's tail. An in-depth series of studies on artistic depictions of the sea monster attempted to verify how this symbol evolved in antiquity in the European and Mediterranean contexts and how it gradually changed its image and function over time. The iconography itself is mutable and imaginative and its history is rich with cultural and artistic exchange, as well as the overlapping of ideas. This occurred so much that it is difficult to accurately pinpoint the "types" that satisfactorily represent its various developments. However, we can try to summarize the main figures, starting from the biblical Leviathan and the marine creature that swallowed Jonah (in the Christian version, this figure was to become a whale or a "big fish", the “ketos mega”, translation of the Hebrew “dag gadol”). Other specimens ranged from the dragons mentioned in the Iliad (which were winged and had legs) to "ketos” (also from Greek mythology), the terrifying being from whose Latinized name (“cetus”) derives the word "cetacean". See J. Boardman, “Very Like a Whale” - Classical Sea Monsters, in Monsters and Demons in the Ancient and Medieval Worlds, in Papers presented in Honor of Edith Porada, Mainz am Rhein 1987, pp. 73-84). In Italy the monster underwent yet further variations: it can be found in Etruscan art on the front of some sarcophagi representing the companion of souls, while among the Romans we find the “Pistrice” (cited by Plinio in Naturalis Historia PLIN., Nat., II 9, 8 and by Virgilio in Eneide: VERG., Aen., III, 427), which appeared in the shape of a stylized hippocampus or a very large monstrous cetacean and evolved into a hideous being with a dragon's head and long webbed fins. During the Middle Ages, the sea monster was the object of new transformations: at this time, it is often winged, the head is stretched like a crocodile, the front legs are often very sharp fins - sometimes real paws - until the image merges with dragons, the typical figures of medieval visionary spirituality widely found throughout Europe (on this topic and much more, see: Baltrušaitis, J., Il Medioevo fantastico. Antichità ed esotismi nell’arte gotica, Gli Adelphi 1997). In Italy during the 15th and 16th centuries, the revival of classicism - representative of the humanistic and Renaissance periods - led to a different reading of these "creatures". Indeed, the sea monster was also to find widespread use as an isolated decorative motif, especially in numerous fountains and sculptures where dolphins or sea monsters were used as a characterizing element linked to water (on this theme see: Chet Van Duzer, Sea Monsters on Medieval and Renaissance Maps, London, The British library, 2013). From the morphological point of view, the "sea monsters" of this period are mostly depicted as hybrid figures, in which the body of a mythological or real being (a hippocampus, a sea snake, a dolphin), is joined to a head with a rather indistinct appearance. It was usually characterized by large upright ears, an elongated snout, sharp teeth and globular, protruding eyes; a complex and indefinite figure, both from the symbolic point of view and from that of its genesis. The work we are examining is placed as a cross between the medieval sea serpent and the Renaissance dolphin, with stylistic features which recall the snake as often used in heraldry (such as the "snake" depicted in the coat of arms of the Visconti - the lords and then dukes of Milan between 1277 and 1447 - and which, for some, may be derived from the representations of the “Pistrice” that swallowed Jonah). In the search for sources, Renaissance cartography and in particular woodcuts should not be neglected. See for example the monsters of Olaus Magnus, from the editions of the “Historia de gentibus septentrionalibus” (“History of the peoples of the north”) and the natural histories of Conrad Gesner, Ulisse...

Beautiful weathered oak winged angel head Renaissance ornament. France, 16/ 17th century. Weathered Measurements include the wooden pedestal.

This fine and imposing sculpture is an excellent example of 16th century Italian craftsmanship. The figure is stood on a raised, shaped rectangular base with a carved "dolphin" at th...

Magnificent and Monumental 16th Century Renaissance Carved Oak Bust of Christ, Flemish Netherlandish, C. 1550 A powerful and deeply expressive Renaissance carved oak bust of Jesus C...

Angel. Carved and polychrome wood. Century XVI. Polychrome wood carving showing an angel, with the face facing the viewer and the body in pr...

Fine, hand-carved, Carrara marble, robed figure from central Italy modeled in the Classical, contrapposto pose. The inscription fragment on the base reads "..under the auspices of...".

A pair of hand carved and parcel painted carved busts.