Renaissance Furniture

Large wooden Madonna and Child, painted and carved in hollow at the back. The theme of the Virgin and Child is the most represented in all Christian art, whereas the infancy of Jesus...

Mortaio in bronzo fuso a cera persa con corpo delineato da un gran numero di cornici parallele e susseguenti che ne delimitano la circonferenza; e ornato con motivi vegetali di deriv...

Set of two 16th century oak panels, one representing a character accompanied by a dog, the other a character in flames, probably saints. These ...

Created in France circa 1950 and set in the original carved gilt frame, the hand painted canvas is a rendition of Jules Worms "The Politicians". The art depicts an outdoor scene with...

Gilded bronze sculpture representing a gallant young man in Renaissance costume, in the style of the French King Henry IV. He is dressed in a doublet for the top, and over that he we...

This small scale late nineteenth century Spanish Renaissance style table features a 29-inch wide oak top joined to its elegantly curved legs by means of two splines that run the enti...

78687 Vintage Persian Tabriz Wool and Silk Rug, 06'07 x 09'07. Adorned with intricate embellishments and well-balanced asymmetry, this vintage Persian Tabriz rug, lovingly handcrafte...

A Fine Renaissance Style Faïence Coupe in The manner of Gien. This impressive faïence coupe is of inverted bell shape with Renaissance style decoration of strapwork, mythical beasts, trophies and armorial...

Early Arista / border tile made in Toledo. Tile decorated in renaissance with stylized flowers was probably made between 1550 and 1575. Catalogue: La Azulejería Toledana a Través ...

A Vintage Brandt Mahogany Game Table featuring a beautifully shaped top with fine quality mahogany grain and a banded herringbone inlaid edge. Designed...

Travel through time with this exceptional late 19th-century German Renaissance-style chest of drawers, dating back to around 1880. Crafted from pine, the piece is a rare and extraord...

53877 Extra-Long Vintage Persian Malayer Rug Runner, 03'02 x 21'00. Antique Persian Malayer rug runners are long, narrow hand-knotted wool rugs originating from Malayer, Iran, prized...

Relief with angel head. Polychrome and gilded wood. Spanish school, 16th century. Rectangular table that presents, on the front, a relief of certain depth and figurative theme. On a...

Antique Renaissance Revival Carved Winged Maiden Walnut Mirror Top Small Side Table. Item featured mirrored top appears to be a replacement and is not original, very nice antique tab...

Male profile relief in Marble Italian Renaissance of the 17th century Measures: 18cm - Height 27 Cm Good condition for the time.

A large and heavy (it weighs 109 lbs!) example of a traditional French pharmacy bowl, this bronze mortar with handles is from 1587, as seen on the production date beneath the molded ...

78688 Vintage French Savonnerie Style Rug, 09'02 x 12'00. This hand-knotted wool vintage Pakistani Savonnerie style rug is a testament to the fusion of artistic traditions. At its he...

Coffee table, metal base, renaissance style marble marquetry shelf circa 1990

Huge Antique P. Dubois. F. Barbedienne Bronze Soldier Sculpture.

A spectacular large scale antique Italian terracotta water font after the antique. This detailed font of impressive scale is a museum copy of the original holy water basin...

Embriachi workshop marquetry casket Northern Italy, 15th century Alla certosina inlays (bone, stained bone, pewter and wood) H 28.2 x W 18 x D 14 cm This beautiful casket of rectangular form is richly decorated with the characteristic geometric patterns of the Embriachi style. The intricate geometric patterns are fashioned by juxtaposing lighter and darker pieces of wood, (colored) bone, horn and pewter. The lid and base are framed by a broad band of horn. When ivory became scarce in Europe due to disrupted trade routes, bone was substituted. The attention to Symmetry and balance created an harmonious visual effect Enhancing the overall aesthetic appeal of the casket. The application of geometrical motifs is in Italy known as marquetry ‘alla Certosina’, named after the Certosina Church in Pavia with its famous altarpiece decorated in this way. This is ‘intarsia technique’, a term derived from the Arabic 'tarsi', which means ‘incrustation' recalling ancient mosaics made from various materials. These geometric elements not only enhance the aesthetic appeal of the caskets but also demonstrate the versatility and skill of the artisans in creating multifaceted works of art. ‘Alla Certosina’ became famous through the Northern Italian Embriachi family who achieved a particularly high standard in working in this technique. Venice in particular was known for the production of these luxurious boxes. The caskets, hexagonal or rectangular, surmounted by a lid decorated in several registers constitute the secular, albeit equally renowned component of the workshop’s production, in addition to mirror frames and various everyday objects. The method of fabrication of those objects was based on two concepts that underlay pre-industrial production: standardization and modularity, thanks to a distribution of skills according to the different phases of fabrication. even the realization of the marquetry motifs (in the form of ingots from which portions of the desired size were cut) were therefore entrusted to various specialized craftsmen, as were the assembly phase. Today better known thanks to the extensive research work recently carried out by Michele Tomasi, this workshop owes its name to its founder and owner, the Florentine Baldassare Ubriachi (or degli Embriachi), a merchant and banker established in the Tuscan capital before he settled in Venice in 1395. Together with sculptor Giovanni di Jacopo, who directed the workshop, from the last years of the fourteenth century, Baldassare oversaw a production that was truly original, and still easily recognizable today, comprising monumental altarpieces and various objects, primarily triptychs and caskets. The precise location of the workshop is unknown, except that it originated in Florence and in ca. 1431 there was apparently a workshop in Venice, in the area of S Luca. They employed local workers specializing in 'certosina' (inlay of stained woods, bone and horn), and the workshop produced items carved in bone (usually horse or ox) with wood and bone marquetry. The geometric decoration of Embriachi caskets reflects the artistic complexity and attention to detail that characterized their work. this inlaid casket is a testament to the skill and artistry of the Embriachi family and serves as a stunning example of the decorative arts of the late Middle Ages. Related Literature : E. Berger, Prunk-Kassetten: Europäischen Meisterwerke aus acht Jahrhunderten / Ornamental Caskets...

The bust intricately carved from Italian Carrara marble with lifelike features including textured hair and shaped chest. The bust carved as Gaius Julius Caesar Augustus Octavius (lat...

Set of 3 Antique French Renaissance dining chairs. Beautifully crafted with oak frames carved in a Baroque manner with pierced backs...

Wonderful image after Sir Thomas Lawrence Fine Steel engraving. Published by FullartonC.1850 Unframed.

Stunning Renaissance cupboard or so-called Zeeuwse Kast in the Netherlands. Striking Dutch design from the Late 17th century. Solid original oak two-piece cupboard with original ebon...

A Vintage Baker Serpentine Sideboard brought to you by Niagara Furniture. A classic serpentine shape this Sideboard features six total drawers and two cabinet doors below to give it a traditional appearance that is both functional and attractive. The Vintage Baker...

A Vintage Henkel Harris Dining Table brought to you by Niagara Furniture. This table is impressive in both it’s design and scale. Made of be...

Compliment your entryway, hallway or mud room with this heavily carved antique bench. Crafted in northern France, circa 1870, and built of solid oak wood, the Renaissance style bench...

From Niagara Furniture; a Vintage Oak Globe Wernicke Bookcase – the perfect addition to any home or office space! Crafted from high-quality American oak, this bookcase is about 100 y...

Group of altarpiece representing the life of a Saint, Saint Renualde? Engraved by the sign of Antwerp hand on the hat of the central character Carved oak, traces of polychromy Fir...

Altarpiece group representing the flagellation Brabant, circa 1560-1580 Carved wood, polychrome, and gilded 50 x 38 x 7 cm At the center of the group, Christ stands upright, leaning...

Huge Antique Silvered Metal Campaigns Urn Planter - Barbara Lockhart Estate

A stunning and high quality pair of French 19th century Renaissance st. Bisque Porcelain, Ormolu, and Giltwood lamps, attributed to Sèvres. Each wonderful lamp is raised on a square ...

Pair of antique corner cabinets Beautiful Renaissance-style corner cabinets with open shelves. In the upper part there are display cas...

Outstanding Spanish carving of San Juanito, 16th century, school of Juan de Ancheta. Juan de Ancheta (1533 - November 30, 1588) was a Spanish sculptor in the Romanesque style. His w...

78728 Extra-Long Antique Persian Malayer Rug Runner, 02'08 x 20'00. Persian Malayer rugs, originating from Malayer in western Iran, are celebrated for their rich history, intricate d...

Reliefs with heads of angels. Polychrome and gilded wood. Spanish school, 16th century. Pair of rectangular boards with a hanging ring on the back that present, on the front, two de...

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...

Sellette en noyer richement sculpté, XVIIIe Fût en forme de cœur ajouré, la base repose sur trois pieds de forme boule aplatie (mauvaise stabilité) Plateau mouvementé. Plusieurs manq...

Signed on the underside by Gaetano Battaglia of Manifattura Battaglia, this tall hand-painted majolica ewer originates from Naples, Italy, circa 1870. Known as an istoriato (loosely ...

A well carved hardwood bust reminiscent of sacred and religious sculpture of the Gothic and Renaissance eras. Antique carved wood head of a mal...

A striking and unique French early 18th century Renaissance st. Wrought Iron lutrin/music stand. The two piece lectern is raised by a handsome tripod base with large scrolled feet le...

Beautiful weathered oak panel with an wonderful primitive angel figure. On the bottom of this angel you can also see two small eagle heads. France, circa 1550-1650, weathered, small...

Wonderful castle sideboard, dresser, cabinet, sideboard-credenza in richly carved oak with two-bodies with openings with 2 doors in the upper part and 4 doors in the lower part. The piece of furniture has 3 drawers carved into belts. The 3 drawers are almost invisible on the central belt, they are secret drawers. Richly carved with lions, scrolls of foliage, plants, cornucopia and fruit. The 2 lion heads at the upper ends of the furniture are fascinating, and almost seem to be moving because they are so well executed. The sculptures are delicate and fine, yet deep. Beautiful storage space with doors and drawers and display space in the credenza. Henry II style, Renaissance, Renaissance Revival. French Renaissance furniture...

Lombard School ink figural study of the Three Graces inscribed "Le Parmesan," and "Ecole Lombard." Pen and brown ink. Girolamo Francesco Maria Mazzola, Il Parmigianino (1503-1540.) P...

Cercle of Jacopo della Pila (Lombard, in Naples 1471-1502) Marble relief depicting a winged Cherub Naples, second half of15th century 40 x 57 x 12 cm Exquisitely carved, this relief portrays a winged cherub with cascading hair and delicate features. The cherub's plump, smooth countenance, rounded cheeks, outlined lips, and finely drawn nose emanate a sense of tenderness. The quadrangular module, is adorned with a carved frame. The relief ascends gradually, transitioning from the low relief of the wings to the high relief of the head. The rectangular frame and the subtly curved form of the artwork suggest that the relief likely adorned the upper part of an arch or a vaulted chapel. The type is that of the perspective room with a coffered ceiling decorated with figures of winged cherubs, which is found in various Neapolitan chapels of the 15th century. Coffered ceilings attest to the recovery of antiquity and the search for luxury in Renaissance architecture, first in Florence, then in Rome and Naples. The majority of the numerous family chapels and tombs built during the late fifteenth century in south of Italy employ the new formal vocabulary of the Florentine Renaissance in a self-confident manner that permitted a broad spectrum of variations. The escalating admiration for the classical world, coupled with the development of perspective, significantly contributed to the Renaissance endorsement of coffered ceilings. This artistic and constructive device drew inspiration from the intricate marble patterns observed in historical landmarks such as the Arch of Titus, the Temple of Vesta in Tivoli, the Pantheon, and the Basilica of Maxentius. A distilled product of both mathematical and artistic cultures, deeply scrutinizing the ancient world, the coffered ceiling plays a vital role in the perspective construction of space with its regular and directional geometry. The motif of the coffered ceiling decorated with cherubs in relief was introduced in Naples by Francesco Laurana in the plastic decoration of the Arch of Castelnuovo. Laurana's impact on the art scene in the south of Italy was profound. The introduction of the winged cherub into the region's artistic vocabulary bridged the gap between the classical and the contemporary, creating a synthesis that resonated with both aesthetic and spiritual sensibilities. His influence extended beyond the immediate visual appeal, shaping the cultural identity of the Renaissance in southern Italy. Although the plastic decoration of the Arch of Castelnuovo cannot certainly be ascribed to a mature Renaissance style, it was precisely on this occasion that the sculptors who worked there could get to know and export throughout the Italian peninsula that type of "Florentine classicism" which, even in the 15th century Naples, was conditioned by the Burgundian culture imported into the Kingdom by Alfonso of Aragon himself, with artists called from Spain and Northern Europe. The coffered ceiling, with its geometric patterns and Laurana's winged cherubs nestled within, became a symbol of refinement and cultural sophistication. The relief sculptures, carefully integrated into the overall design, transformed the ceiling into a celestial realm, inviting viewers to contemplate the divine while immersed in the grandeur of the Renaissance space. Similar winged cherubs appears also in the Naples cathedral. Within the renowned Succorpo Chapel, a mesmerizing marble coffered ceiling adorned with cherubs epitomizes the splendor of the Neapolitan Renaissance. The interplay of light and shadow on the textured surface of the marble coffered ceiling introduces an ethereal dimension, providing an immersive visual experience for observers. The geometric precision and the repeated patterns, reminiscent of classical motifs, establish a sense of harmony and balance that has become the hallmark of the Neapolitan interpretation of Florentine Renaissance aesthetics. Although probably intended to be admired from a distance, this cherub is intricately detailed and exquisitely rendered: the face and hair are elegantly outlined and the feathers are textured through juxtaposed lines. The marble, both figurative and decorative, adheres to the principles of balance and restrained ornamentation typical of the « Florentine Classicism ». Harmonious shapes and gracefully orchestrated curves , rooted in the classical repertoire, converge to evoke a sense of ethereal beauty. The surface displays the masterful use of a chisel to intricately carve the feathers and facial features, creating an almost abstract quality. This work is a testament to a sculptor of great skill and rich figurative knowledge, seamlessly blending classical firmness in contours with a refined treatment of the marble's surface. The combination of tradition and innovation point to a stylistic idiom from Lombardy, in particular we can find some comparaisons with the works of Jacopo della Pila, sculptor of Lombard origin working in Naples in the second half of the 15th century. He is documented there between 1471 and 1502, and is a protagonist of the Aragon Renaissance in the second half of the Quattrocento, together with the other great Northern sculptor active in the kingdom, Domenico Gagini. the first commission he received dates back to August 9, 1471, when Jacopo publicly committed to sculpting the funerary monument of Archbishop Nicola Piscicelli to be placed in the Cathedral of Salerno. The last known work is an altar ordered on July 29, 1502, by the noble Jacopo Rocco for the church of San Lorenzo Maggiore in Naples. Between these two chronological extremes (1471-1502), we must place the fervent activity of the artist, who had trained in Rome, perhaps under the guidance of Paolo Romano but also engaged in dialogue with other major artists of the city, especially Isaia da Pisa. He enriched his experience in Naples, initially drawing inspiration from the works of Domenico Gagini and later from the Tuscan masterpieces of Antonio Rossellino and Benedetto da Maiano destined for the church of Santa Maria di Monteoliveto. Jacopo della Pila's artistic personality is thus based on a complex interplay of influences, contributing to the definition of a highly personal style. Close comparaison can be made between our cherub and the winged angels reliefs...

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...

A Vintage Baker Round Table which will be the focal point of any room in which it is placed. From the beautiful marble top to the sturdy and lovely t...

Pair Of Chapel Tops In Carved And Gilded Wood, Netherlands, 17th Century Possibility of selling by piece also

Beautiful French rustic sofa or bench from the early 20th century. This characterful sofa or bench is a country house piece of furniture in folk art with an unusual straight shape. T...

Antique French Renaissance Louis XV Style Figural Carved Walnut Curio Display Buffet. Item features stunning carvings throughout with maidens and armed so...

Oil on copper representing the martyrdom of an unidentified saint (the angels passing over the scene) and bringing him the palm and the crown of martyrs, without any specific attribu...

Rare, small, late-Renaissance, Nuremberg, iron, 'armada box', strongbox or travelling safe with its original, naïve, painted decoration on later sledge feet...

An exquisite antique mid 19th century Dutch cabinet or cupboard in the renaissance style, crafted from the finest rosewood veneers on solid oak. Moulded top cornice, above a frieze o...

Beautiful antique Italian solid walnut side table with four beautiful walnut cabriole carved legs and detailed by the shaped corners, beveled top and central drawer with brass handle...

Immerse yourself in the timeless allure of the Renaissance Era with this opulent 20th Century Italian Wood Patinated Chest of Drawers. Boasting luxurious gold and cream tones, this v...

A rare and fine pair of Renaissance Walnut Cabinets in original condition. The cabinets have fine craftsmanship and feature Geometric motifs on the frames and doors with simple and c...

Richly carved Neo-Renaissance solid oak cabinet Precise carving work from the 19th century in the Renaissance style. Two-part design where the upper two-door part has internal shelv...