1,890 results for "renaissance"

A super matching pair of oak open twist candlesticks. Good condition. Lovely colour. The cast brass sconces are original. Free UK shipping

This centrepiece garniture was crafted in the 19th Century in Italy. The two bronzed metal items are identically designed, in an expressive and classically-inspired late Renaissance ...

These exquisite Italian candleholders, crafted in Florence during the Renaissance period, showcase the refined artistry and naturalistic motifs popular in the 1500s. Each piece is ma...

1870s Renaissance revival brass candlesticks.

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...

Rare & fabulous Antique Napoleon lll clock garniture with incredible quality bronze sculptures. You will rarely see a clock garniture with bronzes of this quality and detail. The bearded thinker/philosopher on top of the marble clock is simply astonishing. His natural poisture, his hair, face and hands, but also his clothes, it is all of a quality and detail that only a master sculptor can achieve. And the patina also is just perfect. The philosopher is marked on the back and it reads 'BE x'. The two bronze female (classical maiden) sculptures are in fact two stunning candle holders and they too stand on beautifully shaped black marble bases with cartouches. These majestic candle holders are marked on the sides 'L.V.E. ROBERT' (Louis Valentin Elias Robert) and on the back they read 'AD x'. The black marble clock comes with a circular dial face with gilt Roman numerals and this clock has a well working movement. The movement is stamped 'DENIERE / A PARIS' and '2165'. On the bottom it reads A.Blacher and there also is a cachet with 'MEDAILLE D'OR / Paris / 1827'. If you like this one of a kind, clock set as much as we do then you will love our price. Especially, since perfect packing (in a custom made crate) and worldwide delivery from our store to your door in just 4 days are complimentary. Maximum clock height x width x depth: 22 x 17 x 8.5 inches. The large figure candle holders...

Impressive realistic plaster statue of a muscular nude male that sits on top of a square block base. The elegant design shows intricate detail and qualit...

Majolica vase with a black background decorated in golden yellow. the vase is formed by a very slender body and a flared neck ending with a rather everted edge: it is handmade and ha...

A rare 18th century, figural, brass candlestick in the Renaissance taste. The stem cast as a male caryatid, most likely Adam, holding the candlestick positioned on his head with one ...

Verrocchio: Sculptor and Painter of Renaissance Florence by Andrew Butterfield, John Delaney and Charles Dempsey. Publisher Princeton University Press, 20...

A striking and beautifully rendered bust of David, after the Renaissance masterpiece by Michelangelo Buonarroti. Standing an impressive 60 cm (23.6 inches) high, this substantial sculpture makes a bold and confident decorative statement - its scale, balance, and classical presence commanding attention in any interior. Meticulously cast in heavy polystone, the bust captures the sculptural tension and idealized beauty of Michelangelo’s original...

A handsome pair of French 19th century Renaissance st. patinated bronze, ormolu and Rouge Griotte marble urns, signed Leon Boucher. Each urn is raised by ...

These elegant porcelain vases were crafted in France in 1825-1835. They are designed in the Renaissance style, shaped like Greek Amphora vases, and ...

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...

Pair of 19th century dark patinated bronze statues depicting Renaissance period (possibly Medieval) Knights or Warriors in battle each on horseback. Expertly chased with intricate de...

Rare and important Italian white marble bust sculpture of Jesus Christ, C. 1850. A truly exceptionally carved marble relief of Holy Jesus Christ. ...

A 20th century cut crystal and gilt bronze dish in Renaissance taste. The circular cup is decorated with cut-diamond patterns. It is set on a baluster-shaped stem that is embellished...

"Ferdinando Vichi", Florence 1875-1945. Romantic figure of sitting woman. Made in marble, sitting on a chair made of bronze, original pedestal of green, Italian marble. Sign. Vichi. Ca. in 1900. (In two pieces) Ferdinando Vichi (1875-1945) was a central figure in the production of Florentine sculpture...

An impressive and large scale French 19th century Renaissance st. Sèvres Porcelain and verdigris Bronze vase. This wonderful cobalt blue Jardiniere is raised by a square verdigris pa...

Coupe Renaissance en bronze 19ème Renaissance cup in gilded metal from the end of the 19th century Good general condition Dimensions: 35x30x14 cm

A charming and high quality pair of French 19th century Renaissance st. patinated bronze lidded urns, attributed to Auguste-Maximilien Delafontaine. Each urn is raised by a square ba...

A Rare Important Renaissance Revival Copper Brass Mounted with Malachite Top Jewelry Box on Stand Elkington Co., England Date...

A wonderful 16th century draped female torso in classical style. Made in France under Italian Renaissance influence this female torso is finely sculpted with great detail to the stol...

Pair of Italian Renaissance Revival bronze Andirons.

A rare enamel, gold and rock crystal figure of Emperor Maximilian I by Reinhold Vasters, Aachen, In the Renaissance style, circa 1870. The g...

A Lovely Pair of Medici Bronze Lions Lovely Patina and Definition C20th

A handsome and richly decorated pair of French 19th century Renaissance st. silvered bronze, ormolu and patinated bronze ewers. Both are raised by a square ormolu base with rounded c...

A superb quality and impressive large scale pair of French 19th century Renaissance st. Rouge Griotte and ormolu nine arm candelabras, signed F. Barbedienne. Each is raised by a square Rouge Griotte marble base with an ormolu ‘C’ scrolled support in a lion paw design amidst scrolled acanthus leaves. Above is an ormolu laurel band below the fluted marble pedestal...

Exceptional polychrome wood low-relief depicting a werewolf and saint george after a woodcut by lucas cranach (“DER WERWOLF” 1512) Provenance : collection Brimo de Laroussihle colle...

Bronze male sculpture signed. Fonderia Giorgio Sommer Calabritto Napoli Thomas, sculptor, lived and worked in the Naples area, and especially on Capri, from 1889 to 1906. Given this ...

A striking and most decorative pair of French 19th century Renaissance st. ormolu and Sarrancolin marble urns. Each urn is raised by handsome paw feet below elegant lightly curved su...

This pair of antique covered urns are signed by and unknown maker, and presumed to have originated from France and date to approximately 1880 and d...

These Renaissance style antique French patinated bronze ewers depict very busy and mischievous Bacchanalian putti at play. A cherub sits atop the handle holding an item in his hands....

The dimensions for the Renaissance Revival Gilded Age Oak Lion Bracket are approximately: Dealer: S138XX

A very fine antique Maiolica pilgrim flask & stopper by Ginori. Decorated in the Urbino istoriato style with polychrome cherubs to the front and a lan...

Top quality carved bust, signed by Cristoforo Vicari (Swiss-Italian, 1946-1913). This remarkable antique alabaster sculpture depicts a serene young woman dressed in a Florentine cos...

A stunning and most handsome pair of French 19th century Renaissance st. patinated Bronze ewers/urns. Each ewer is raised by a square base below a fluted socle decorated with a folia...

Vintage Renaissance Victorian Style Brass Lion Head Double Pen Desk Inkwell. Circa Mid 20th Century. Measurements: 3.75" H x 13.5" W x 10" D.

A handsome and most decorative French 19th century Renaissance st. Ormolu and Silvered Bronze tray/centerpiece. This wonderful rectangular shaped "vide poche" tray is raised by four ...

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...

A unique and most decorative pair of French 19th century Renaissance st. patinated Bronze and Ormolu candelabras. Each striking four arm candelabra is raised on an X-shaped Ormolu ba...

Renaissance revival tole metal wall hanging candelabra finished in gold leaf, silver leaf and green, red, yellow and brown lacquer. Center shield s...

This rare Venetian frame entirely carved in high-relief shows a rich decor of scrolls, garlands, daisy flowers and thistles. At the four corners of the frame are depicted large acant...

Antique Polychromed Carved Wood Religious Spanish Priest 18" Sculpture Figure. Circa Late 19th Century. Measurements: 17.5" H x 9" W x 5" D.

A stunning and high quality pair of French 19th century Renaissance st. Ormolu and Rouge Griotte marble candelabras. Each most elegant two arm candelabra is raised by a circular Roug...

An outstanding pair of French 19th century Renaissance st. patinated bronze, ormolu and Rouge Griotte lidded tazzas. Each tazza is raised by an elegant square stepped Rouge Griotte m...

This exceptional 15th-century Venetian painted casket is a rare example of early decorative art from the late Medieval to early Renaissance period in the Republic of Venice, Italy. H...

This set of eight porcelain figurines was made by the Capodimonte factor of Italy in circa 1980 in the Renaissance style. Seven of the figurines depict famous military figures and ar...

A lovely and high quality pair of French 19th century Belle Epoque Period Renaissance st. Marble, patinated Bronze and Ormolu ewers. Each most elegant ewers/urn is raised by a Rouge ...

A fine pair of French 19th century Renaissance st. patinated bronze, ormolu Rouge Griotte, and Black Belgian marble tazzas. Each tazza is raised by a circular black Belgian marble ba...

A striking and very high quality French 19th century Renaissance st. Rouge Griotte marble, patinated bronze, and ormolu garniture clock set. The clock at the center is raised by hand...

Spanish Renaissance casket, 16th century In carved, polychrome and gilded wood decorated with a vase with horns of plenty, heads of cherubs and fruits. In the lock a shield with two ...

Minimal, graphic bottle-shaped vase was hand thrown and decorated with monochromatic cobalt blue semi-matte glaze on both inner and outer surfaces. It is signed by the artist and ma...

Masterfully carved Italian Vanitas / Memento Mori bust in solid marble from late 19th century. White Carrara marble skull combined with masterfully...

This striking pair of late 19th century faience pitchers is a superb example of the Renaissance revival style produced by the esteemed Faïencerie de Gien. Each piece is beautifully h...

A striking and extremely decorative pair of French 19th century Renaissance st. patinated bronze, Opaline, and black Belgian marble ewers/urns. Each urn is...

Renaissance jug from the XIX century. Jug in patinated and gilded bronze with work in relief allegory to astronomy. Measures: 60 cm high Good condition.

French Bronze Sculpture of "Mercurio Volante"( Mercury Volant) cast and signed by F(erdinand) Barbedienne Fondeur, Ca.1850 After Giambologna (1529–1608) This finely cast bronze fig...

An extraordinarily rare and visually striking 16th-century Venetian iron treasure coffer, showcasing the height of Renaissance artistry and engineering. Crafted in the early to mid-1...

A Very Rare and Important Marble Relief of the ‘Resurrection of Christ’ Attributed to the Master of the Mascoli Altar Marble Venice, Italy Second half of the 15th Century SIZE: ...