Renaissance Furniture

This extraordinary Utrecht “Poortkast” (portal cabinet) stands as one of the finest expressions of Dutch Renaissance furniture. Crafted in ...

This richly carved wooden chest is a fine example of an Italian cassone from the 17th century. The cassone, also known as a bridal chest, was an essential piece of furniture in the h...

This late nineteenth century French Henri II style walnut enfilade or sideboard features four fluted half columns with scrolling capitals and a beveled walnut top. Three drawers of d...

A scarce nearly 400 year old fine quality Italian Lombard ebony rosewood bone and ivory tabletop curiosity cabinet with warm rich beautifully aged patina and interesting provenance. ...

Wonderful stone carving of a kings face. Probably English. I have dated it at least, 19th century. It is most likely earlier than this. Difficult to be precise. Free UK shipping

Concordantiae Maiores Sacrae Bibliae – 1526 – Froben Press – Original Binding Full Title Concordantiae Maiores Sacrae Bibliae, summis vigiliis iam recens et castigatae et locupletat...

An incredibly unique find on a hill top Villa in Turin, this cabinet has resided in the same home since its creation and hence is in remarkably good condition. The drawings and pain...

Beautiful antique Italian solid walnut side table console desk with four beautiful walnut carved legs connected to one another with central decorated stretchers and detailed by the b...

Italian chest of drawers in walnut burl and Solid walnut, handcrafted in 1980 in the 17th-century Lombard style, with four wide, deep drawers defined by ebonized, projecting frames....

Parade Plate David Zipirovic Deruta Italy, Early 1900 Painted Majolica Zipirovic Graphic Symbol under the plate Perfect Condiction Must have for your majolica collection David Zip...

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

Rare late 15th or early 16th century Mudejar tile of the so-called ‘Arista’ technique with intricate geometric decoration. Good condition; some chipping to the edges, some wear to ...

Antique Italian Neo-Renaissance parlor settee / loveseat / bench, circa 1870s. Made of walnut featuring Neoclassical styling with high relief figural carvings of cherubs / puttis, N...

Early Arista y cuenca tile made in Toledo. Tile decorated in renaissance with stylized flowers was probably made between 1550 and 1575.

Large French Two-tier Gilt-Bronze and Crystal French Chandelier. Chandelier features a gracefully scrolled gilt-bronze frame adorned with an opulent cascade of hand-cut crystal prism...

Rare late 15th or early 16th century Mudejar tile of the so-called ‘Arista’ or 'cuerda seca' technique. The central motif is an eight-pointed star, which in turn encloses smaller on...

Jacques Bergé "King David" - Terracotta or Fired Clay with Polychrome Remnants Dated 1736 14.5" h x 5.5" w x 4.5" d A rare and exceptionally refined terracotta sculpture of *King ...

A magnificent original hand painted late 18th / early 19th century Italian refectory table. Italy, circa 1800, this one of a kind masterpiece executed in a rare and most impressive...

On offer here is an antique four-door cupboard, in Dutch, named “Kussenkast”, that was made in the Northern Netherlands in the late 17th century. This cupboard takes its name from th...

Venetian mirror made in the strictest Murano tradition. Assembled with crystal/gold and red elements handmade in the Murano furnaces. Wooden frame with a natural finish.

19th century French carved oak Dolphin library table desk Renaissance Gothic. Direct from France, an elegant antique French carved ...

Rectangular Venetian mirror, made in the strictest Murano tradition, finely hand-engraved on the bands by skilled master engravers. All the elements are assembled with floral element...

Large rectangular Venetian mirror, made in the strictest Murano tradition, with a central glass mosaic. Finely hand-engraved on the b...

Classic shaped Venetian mirror, made in the most rigorous Murano tradition. Finely hand-engraved on all elements, it is assembled with numerous floral elements in crystal and gold ha...

Venetian mirror with antiqued frame and carefully hand-engraved decorations according to the Murano tradition. All glass elements are finished with grinding on the edges. The mirror ...

Monumental 'Excalibur Sword' Garden Statue England, Circa 1900s This monumental “Excalibur Sword” garden statue, imported from the UK in the 1970s, is a truly extraordinary Renai...

ANTIQUE SILVER CRUCIFIX/LATIN CROSS A striking and decorative piece made from continental silver with a central crucifix engraved with a fairly naive depiction of Christ. The centr...

"Perseus Rescuing Andromeda" Masterful Old Master Oil on Canvas Painting, Large size, framed. Painting depicts the dramatic scene from Greek mythology where Perseus, the hero, saves ...

19th Spanish refectory desk table with solomonic legs and iron stretcher Original perfect condition Top table in perfect shape. Very heavy piece Between legs 81.10 in

Stunning Italian Renaissance style Majolica Allegorical Serpent Handled Vase, Blue-crowned Ginori Mark, Model and Decoration No. 13-88 Provenance Celine Dion Jupiter, Florida Estate ...

This late 19th century French Henri II Renaissance style hand pegged walnut writing table or side table is finished on all sides, allowing it to be placed in the center of a room. It...

Venetian mirror made in the strictest Murano tradition with the center carefully hand-engraved. All assembled with crystal/gold elements handmade in the Murano furnaces. Wooden frame...

Precious rectangular Venetian mirror, made in the most rigorous Murano tradition. Finely hand-engraved on all elements, it is assembled with numerous floral elements in crystal and g...

Pair of pillows featuring a Fortuny fabric, known for their luxurious, hand-printed designs with a distinctive Venetian style. It is one of Fortuny's classic styles that often showc...

A beautiful late 18th century cabinet in the best quality solid oak. This is a typical 'kussenkast' or pillow cabinet. Pillow refers to the shape of the...

A large fragment of Venetian Silk Velvet Dating from late 16th Century One silk selvage edge present Study / document piece. Historic time worn appeal. Please study photographs ...

A beautiful bronze box, decorated in renaissance style with putti and decorative ornaments. The box is in good condition, key is missing. Beautiful colour and patina. Dimensions: ...

The Sovereign of the Seas, an early British "First-Rate Ship of the Line" was launched in 1637 and was the most magnificent ship of her era. Designed in 1630s by Phineas Pett, she was the first ship to have three full gun decks, carrying a total of 102 guns, on the orders of King Charles I. No expense was spared in her construction. Renamed the Royal Sovereign when Charles II came to the throne in 1660, she fought in several battles during the second and third Dutch wars between 1666-1673. The nine years war against France broke out in 1689 and the Sovereign of the Seas (Royal Sovereign) was present at the Battles of Beachy Head...

Exceptional Antique 19th Century Renaissance Revival Hunt Cabinet. Hand carved from oak with a large upper display portion that opens to three adjustable shelves. Door frames are neatly carved and flanked by meticulously carved outer stiles with figural ringed lion spandrels over a fruit and foliate motif. Crown is centered by a shell and scrolled foliate cartouche set between acanthus motif and French medallions. The base of the cabinet has two hand dovetailed drawers with figural carved gargoyle...

Set of Spanish tiles of the 'dos por tabla/ type in the Arista y cuenca tile made in Toledo. This particular type was to adorn ceilings. Tile decorated in renaissance with stylized ...

Impressive antique 19th century Italian Renaissance style large sideboard. Made entirely of carved walnut wood. The carving work is spectacular made by a great master of wood. We ask...

Precious rectangular Venetian mirror, made in the most rigorous Murano tradition. Finely hand-engraved on all elements, the external bands are painted with special colors for glass. ...

Theodore Alexander Medieval Suit of Armour. Styled after an original 16th Century German suit that sold at auction for well over $50,000. Retai...

An Italian Renaissance-style garden planter or basin in hand-carved limestone with a centered shell and scrolls on either side. It has a heavy top rim and bevels on the bottom. Minor...

This solid oak carved chest was made in circa 1720 and originated in the Netherlands. It is made in Rebaissance style and it has the typical elevated panels in the front section. T...

Rare and early German Stollentruhe, dating from around 1620. This compact 17th-century oak chest combines historical significance with visual prese...

Important heraldic Spanish tile of the 'azulejo por tabla para techo' type, in arista y cuenca technique, made in Sevilla in the early 16th century. Depicting a two-section tower an...

**Magnificent Late 19th-Century Neo-Renaissance Figural Nef, ca. 1880s-1890s** This exquisitely crafted table vessel embodies the grandeur of Renaissance-inspired artistry, reinte...

Venetian mirror made in the strictest Murano tradition with a crest and a rich frame carefully engraved by hand with painted sidebands. All assembled with golden crystal elements han...

This beautiful and friendly-sized cupboard is made of the finest watered oak in the tradition of the Dutch Renaissance during the “Dutch golden age” It is a two-story four-door cabin...

An antique ink stand, made of polished brass, completely in Renaissance style, with richly pieced scroll motifs. The inkwell has two removable ink we...

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 stunning large antique Italian Raffaellesco majolica wall charger / centerpiece, showcasing exceptionally executed handmade and painted design, dating to the 19th century or earlie...

16th century Italian carved and polychromed figure of a male saint or prophet with a wonderful presence. Shown holding an open book in his right hand with flames at his feet, mid-16t...

Antique French Renaissance / Gothic Revival cabinet / sideboard / buffet / bar / server. Made of walnut featuring Rouge marble top with paneled backsplash over two drawers and lower...

Code: FQ58 Period: 19th century Style: Renaissance Dining room of the School of Arts in Monza, 19th century, walnut hand-carved consists of: sideboard showcase with leaded cathedral glass; sideboard with central mirror; console with large mirror; table with 12 chairs lined leather. Measures cm (height, length, depth): sideboard with showcase...

Italian renaissance hand carved wooden "putto" angel head, circa 15th Century Width 14 inches / height 14 inches / depth 4 inches 1 available in stock in Italy Order reference #: FAB...

Monumental and important Renaissance Palladio dining room set all in solid hand-carved walnut from a Palladian Palace in Vicenza of a Venetian patrician family. The back of the showcase was rebuilt again at the end of the 800 first 900 with the application of damask fabric The table can be extended up to 4-6 meters The large sideboard and the display cabinet are in the process of conservative restoration and have therefore been disassembled, as seen from the last photos. Measures in cm: Sideboard H 240 x L 315 x D 70 Display cabinet H 240 x L 230 x D 60 Table H 78 L x 230 x D 140 Extendable to 4-6 meters Notes: The architectural design of Andrea Palladio...

Antique cormer armchair from around 1900. The furniture is in very good condition, after professional renovation. The seat is covered with new natural leather. Dimensions: height ...

This is a wonderful pair of antique Renaissance Curule or Savonarola Style Chairs with carved loins heads beneath carved scrolls on the arm posts and a carved crest between the posts...