16th Century Furniture

Beautiful weathered wooden panel with an wonderful primitive angel figure and garlands. Original paint and gilding. Spain, circa 1550-1650, weathered, small losses and old repairs M...

Beautiful primitive medieval stone panel, depicting a Madonna with child France before 1600 Weathered and small losses

This is a very old Japanese wooden Buddhist sculpture. It is believed to date back to the Muromachi period (14th–16th century) and has quietly existed alongside people’s prayers for ...

This medium-sized Echizen ware jar, a representative example of ancient Japanese pottery, is believed to have been produced during the late Muromachi period to the Azuchi-Momoyama pe...

Important two-part buffet cabinet in oak, dating from the late 16th century, notable for the quality of its construction and its richly carved high-relief decoration, characteristic ...

RENAISSANCE BED in molded walnut with carved oval friezes and corner columns topped with Antique-style vases. The rectangular headboard features a moving pediment adorned with a shel...

This impressive large Stollentruhe, also known as a Stollentroewe, is a large German storage chest crafted around 1580. Its distinctive construction, with massive upright corner post...

This Bizen ware jar was fired in the Bizen region of Okayama Prefecture. Bizen ware is one of Japan's Six Ancient Kilns and is known as one of the oldest pottery styles in Japan. Its...

France / 16th century / bridal or blanket chest / oak / Gothic This impressive chest was hand-carved in solid oak in the 16th century in France. The construction is typical of very...

This 16th century Aubusson (French) tapestry is remarkably still vibrant and in wonderful antique condition. Its original border is completely intact and designed with florals, folia...

Dans le respect des traditions, cette magnifique tapisserie a été soumise à un nettoyage en profondeur, à la pose d'une doublure en lin cousue à la main, et à une vérification minuti...

A stunning large antique Chinese Zhangzhou (Swatow) blue and white shallow porcelain dish of rounded form decorated centrally with a standing phoenix bird set amidst flowering blooms...

16th Century Period Renaissance Tuscan Walnut Credenzino Italian 16th/17th century Renaissance walnut small Credenza with a rectangular top above a single drawer centered over a s...

A refined sixteenth century Brussels tapestry fragment showcasing stylized fruit and foliage in a beautifully aged palette of soft sand beige warm wheat tan golden taupe muted olive ...

Antique print Hungary titled 'Contrafehtung der Festung Tokay'. Birds eye view of the fortress Julaof Tokay, Hungary, surrounded with Turkish troops. Originates from a German edi...

Antique print titled ''Ernestus Ferreus Arch'. **Ernest the Iron (1377-1424)** Background: Ernest the Iron, also known as Ernst der Eiserne, was a member of the House of Habsburg....

Title: Limburgum Oppidum Galliae Belgicae, vulgo Lympurch, gallicè, Lembor Dr. Type: Print (Copper Engraving) Circa 1580 Technique: Colored Copper Engraving Medium: Handmade Paper S...

Belgium / 19th Century / cupboard / oak / Neo-gothic / Antique Flamboyant gothic style cupboard with 4 doors, handcrafted in Belgium. We found this exceptional piece in the Belgian...

French oak Gothic panel hand carved with gothic tracery showing quartrefoils with floral centers, a single Doric column dividing. This panel from a chest or coffer is a piece of hist...

An elegant pillow made from a 16th-century Brussels tapestry fragment, skillfully woven in wool and silk. The composition showcases grand floral blooms and fruit clusters framed by B...

A rare 16th Century Italian stone Corinthian half-capital, carved in Ligurian slate, mounted on a simple wrought iron bracket for wall hanging.

It is "Shigaraki ware". Shigaraki is a historical kiln located in Shiga Prefecture, Japan. (Shigaraki Kiln is marked with a red circle on the map.) It is said to have originated in t...

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 ...

Exceptional Period Renaissance processional cross early 16th century, France Extremely rare and beautiful processional cross from the early period of the French Renaissance. This ...

France / 16th century / Chest / oak / Gothic A remarkable French Gothic oak chest dating from the 16th century, showcasing intricate hand-carved detailing throughout its façade. The...

A rare 16th Century Flemish Verdure Feuilles de Choux Tapestry Panel (Oudenaarde or Enghien) Feuilles de Choux (cabbage leaves in French) t...

This piece is an Iga ware jar fired around the 16th century, during the late Muromachi period to the Momoyama period. Iga ware is pottery produced in the Iga region of Mie Prefectur...

Biblia cum concordantijs veteris & novi testamenti & sacrorum canonum, 1519 A Bible by auteur Alberto da Castello, printed by Luca-Antonio Giunta, Latin Anno 1519, Venice 27-532-55 pages First alphabetical list- Tabula Tertia, after that comes the 1st full page woodblock plate. This title page in red and black with a surrounded frame in woodcut. Above the page “San Jerome” illustrated and below the page the printers mark “ Giunti’s Mark” from the family of printers in Florentine. The initials L A of Luca-Antonio Giunta. After this page starts a full-page woodcut illustration after that are 3 pages not numbered and then starts numbered page 2 – 532 On page 401 is also a full-page woodcut plate There are ca 345 small woodcuts...

This 16th century hand-carved wooden Virgin Mary polychrome statue comes from a church in Sint-Niklaas, Belgium (Europe), and was bought directly fr...

Rare Venetian 16th century Italian traveling jewelry chest profusely decorated in Arabesque black and gilt decoration featuring rare specimen stone drawer fronts in a Palladian archi...

16th Century Brussels Tapestry great condition beautiful color and design

A rare German late Gothic brass candlestick (Spulenleuchter), dating to around 1500. This finely crafted piece features a broad circular base with a gently sloping profile, supportin...

Beautiful weathered hand carved stone medieval statue depicting a Saint . Italy 16th century. Weathered, small losses and old repair. H:51cm W:18cm D:13cm

16th century and later Elizabethan solid oak refectory table circa 1590. We are pleased to offer this beautiful table, with Elizabethan period bas...

Renaissance cabinet from Burgundy Or Lyon Region Origin : Burgundy Or Lyon, France Period : Second Half 16th Century, C. 1580 Height : 209cm Length : 184cm Depth : 71cm Good condition Walnut wood, original keys and keyholes Around the middle of the 16th century the conception and ornamentation of French furniture evolves. The start of major building projects, such as the castle of Fontainebleau, gives artists a new impulse. Inventive and rich formulas are developed there, before spreading to all of Europe thanks to engravings and printed leaflets. Furthermore, Italian artists working on such construction sites bring French artists and patrons a renewed taste for the Antique. Regarding the art of furnitures, the most complex scenes and figures are drawn from illustrated books, ornament and emblem compendiums and engraving compilations. Rather than copying those images the artisans feed their inspiration and decline the motifs in numerous variations. The ornamental grammar marks a return to the Antique : palm leaf, acanthus, egg-and-dart, greek, scroll, fluted pilaster… It is in Primaticcio’s and Il Rosso’s stuccos made around 1540-1550 that we have to look for the origin of leather cut-outs, masks, chimaeras, harpies, sheathed figures, fruit and flower garlands that soon enrich every pieces of French furniture. The structure of the pieces of furniture also evolve thanks to the re discovery of Antique architectures, rigorously used as a model. This cabinet presents an imposing structure and a rich and original decor exemplifying the production of the late 16th century, infused with Italian, Antique and Fontainebleau influences. It stands on a moulded base ornate with palm leaves. It opens with four door-leaves and two drawers in the belt. Six whimsical terms divide the facade. The lower body is horizontally divided by three sheathed female terms. The two standing on the lateral posts are topped with fruits while the body is covered by acanthus leaves carved with precision, belted at the waist. The term standing on the central door-jamb is crowned with laurel leaves and is draped in the Antique fashion. A wincing mask hides the key hole. The two door-leaves are centred by a beautiful mask carved in a strong relief. They wear stylised feathered headdress and are set on draperies. Straps, leather scrolls, acanthus leaves and a shell are spread around the masks. The recessed panels are secured in frames ornate with acanthus leaves. The belt is flanked by two large mouldings enriched with variations of acanthus leaves. The drawers are carved with choux bourguignons and palm leaf motifs minutely executed. The consoles between each drawer bear tormented wincing masks, showing horns as if they were fauns or imps. The upper body is framed by two male terms characterised by a strong and nervous musculature, their manhood hidden by drapes secured thanks to a winged lion head. The term on the left appears to be younger and is wincing while the one on the right has a beard. The central female term brings contrast with her youth and sensuality. As it is the case on the lower body, the key hole is hidden behind the mouth of a faun’s mask placed on the drapes barely covering the intimacy of the caryatid. The panels of the upper body present an idealised architecture comprising pilasters and sinuous broken pediments. The pilasters are flanked by two satyrs with goat legs. In the centre appears an important lion mask. The terms of the upper body support the cornice. The entablature carries palm leaves and roses alternating as well as an egg-and-dart frieze. The cornice is adorned with acanthus motifs. On the sides, the carving is executed flat. A central rose is surrounded by scrolls, flowers and choux bourguignons. We can admire the variety of the elements employed. The artist vary with great genius many different ornamental motifs : palm leaf, egg-and-dart, laurel leaf, roses, scrolls … But the artist went even further as each profile and each face is individualised and presents different features. You can take a look at the faces of the satyrs flanking the upper body’s panels. The talent of the artist is undeniable. It makes no doubt the patron who commissioned this cabinet was an aesthete looking for the greatest quality. The artist who authored this cabinet had a great mastery of composition both in the general design and in the individual panels. They probably drew inspiration from engravings and drawings made especially for the making of this piece of furniture or not. They seem to be familiar with the style of Jacques Androuet du Cerceau. Indeed, we can find in Du Cerceau’s engravings the same juxtapositions of leather cut-outs, masks and fruits. The terms and caryatids used on the facade could very well be inspired by his work as well. The cabinet-maker was also undoubtedly observant of Hugues Sambin, the most famous cabinet-maker and sculptor in the Burgundy of the time. Like Du Cerceau, Sambin left an important ensemble of models particularly useful for the design of cabinets. His publication De l’Oeuvre de la diversité des termes dont on use en architecture (1572) was an essential book for every artisan. All the motifs testify of the artisan’s high knowledge of forms as well as the precision of their tools : super imposition of ornamental elements, foliages, architectural cut-outs, flat and high reliefs alternating, palm leaves inscribed in circular spaces, wincing faces. It is also a testimony of the artisan’s familiarity with Italian and Fontainebleau productions. Because of the proficiency of the cabinet-maker in so many different models, this cabinet truly is a master-piece authored by the hand of an authentic master. The generous carvings executed with great rigour and virtuosity evoke an origin close to Burgundy and Lyon workshops. This cabinet was made by a master of the region during the Second French Renaissance. Literature BOCCADOR Jacqueline, Le mobilier français du Moyen-Âge à la Renaissance, Édition d’art Morelle Mayot, 1996 BOS Agnès (dir.), Mobilier du Moyen âge et de la Renaissance, La collection du musée du Louvre, Louvre éditions...

16th Century Brussels Tapestry Great condition beautiful color and design

This piece is an old Tokoname ware jar produced in the Tokoname region of Aichi Prefecture, Japan. It is believed to date from the Momoyama period to the early Edo period (late 16th ...

Valuable ancient noble 16th century, Italy Ligurian carved oak and chestnut credenza Bambocci, sideboard with display cabinet. All original with exception ...

A striking and substantial wrought iron fire guard showcasing exceptional hand‑forged workmanship and a dramatic presence. Constructed from thick, weighty iron, the guard features a...

A truly exceptional pair of Memento Mori 'remember you must die' painted on board, these date to the 16th century and were originally housed in an North Italian Monastery, this incre...

As soon as 1540 France's second Renaissance is in the making, intimately linked to the rediscovery of the Antique world. The development of the printing and engraving industry allows the spread of artworks and models in many cities and countries. The Italian influence can be perceived in every artistic field. While the French king entrust the most talented Italian artists with major projects such as Il Rosso or Primaticcio in Fontainebleau, French artists also travel to Italy to form themselves to this new style. In Italy they get acquainted with the work of Leo Battista Alberti the first to theorize perspective (De Pictura, 1435-36) and architecture (De re oedificatoria, 1541). Those two publications would have a revolutionary impact on arts. Furniture is marked by the work of the most famous Italian architects of the time as well as French architects. Indeed Philibert de l'Orme competes with Alberti and by the end of his life publishes several treaties including one devoted to a theory of architecture (1567). Unfortunately he would not live to complete the second volume. In this treaty he expresses his interest for mathematical norms applied to architecture, copied from the Antique. His journeys in Italy allowed him to accumulate the most sophisticated references. Jean Bullant, another architect of great talent also theorizes his practice. He establishes rules characterizing Greco-Roman art staying faithful to Vitruvius. Following this new inspiration the structure of furniture evolves. From then on appear columns, capitals, cornices, friezes and architraves. The ornamentation uses this inspiration as well with egg-and-dart, palm leaf and rose adorning the most beautiful pieces. In Lyon, crossroad where meet merchants from everywhere those new experiments are welcomed. Lyon florishing printing industry allows the spreading of models and treaties essential to the artist's work. Thus the first publication of Vitruvius' De Architectura in France would be printed in Lyon in 1532. Artists from Lyon rediscover and familiarize themselves with the Antique knowledge very early. They adopt those new ideas and use them in their own creations. Lyon cabinet-makers re interpret Antique architecture and Italian Renaissance palaces to give their pieces a pure and harmonious architectural structure. Grooved pilasters are particularly favored. They are topped by capitals of diverse orders always respecting the sequencing with simpler ones for the lower levels and the richest ones on the higher levels. As for the ornamentation, one of the great distinctiveness of Lyon workshops remains the architectural perspective illusions, drawing inspiration from Tuscany. True masterpiece of the Second French Renaissance this important cabinet illustrates Lyon workshops' taste for fine Italian architecture inspired by Antiquity. An architectural perspective of great quality is treated in symmetry on each panel. This two-bodied cabinet without recess stands on four rectangular feet. The base comprises a molding, a palm leaf frieze and is bordered by a braid. The lower body is divided by three grooved pilasters with Tuscan capitals framing two door-leaves. The two panels are encircled by a moudled frame with palm leaves. They are finely carved with a decor of fantasized architecture depicting an Italian Renaissance palace erected symmetrically on each side of a grooved pilaster. On the ground floor a door opens through a stilted arch while the stories are opened with mullioned windows, dormers and occuli. Two large pegged-boss cladded pillars support the entablature enriched by a palm leaf frieze upon which stands an arch whose coffered intrados is centred by a rose. Behind this arch a pyramid appears, standing in front of a second facade with a window topped by a broken curvilinear pediment under a cul-de-four with a shell. The checker flooring gives depth to the low-reliefs creating vanishing points structuring the panels and guiding the eye of the observer. A thin laurel braid highlights the belt of the cabinet where are located two drawers. Their facades are adorned by palm leaves in hoops. The upper body is encircled with palm leaves. The same ternary division as in the lower body appears. However, the pilasters are topped by Ionic capitals with volutes and egg-and-dart. The door-leaves are framed with flowers. On the panels the artist has designed another architectural decor. On the foreground open two arches on top of grooved pilasters with rectangular capitals adorned with palm leaves. The arches are enriched with braids and the coffered intrados bears a decor of roses. The spandrels also bear a flower decor. In the background another arcature hosts a fluted grooved column topped with double basket acanthus capital, characteristic of Corinthian order. The triangular pediment is interrupted by a choux bourguignon. A large cornice crowns the cabinet. It stands on pilasters and forms an entablature comprising a palm leaf frieze and an egg-and-dart, triglyph and palm leaf cornice. The cabinet's sides have also been carefully considered. The lower body's panels are enriched with an arch rising above a broken pediment portico hosting a twisted column. Flowers garnish the spandrels. An architectural facade completes the decor. The upper body's panels present two arches supported by a facade opened with dormers and mullioned windows as well as cartouches (one bears the inscription 1580 dating the cabinet) suggesting the interior of an Italian Renaissance palace, confirmed by the chandeliers. The flooring leads our gaze to a second arch with a broken curvilinear pediment where stands a flower vase. This arch opens onto a perspective of another facade along a road. Inside the cabinet, on the lower body door-leaves appear two designs. On the right door is depicted a Crucifixion. Saint Mary and Saint John flank the Christ on the cross. In the bottom part is inscribed « Dure uiator abis nihil haec spectacula curas / Pendenti cum sis unica cura Deo. / Tota suo moriente dolet natura Magistro. / Nil qui solus eras caussa dolenda doles. ». The signature [Christoff Swartz Monachiensis pinx[it] / Ioa[nnes] Sadeler sculp[it]] tells us it was made by Johan Sadeler I (1550-1600) after Christoph Schwartz (1548-1592). This engraving belongs to an ensemble depicting the Passion of Christ Johan Sadeler executed in 1589 after an altar piece painted by Christoph Schwartz for the private chapel of Renée of Loraine, wife of Duke William V of Bavaria. This altar piece made of nine copper panels has been destroyed during the 19th century. The Crucifixion panel once in the centre of the altar piece is the only one that survived and is today kept in Munich's Alte Pinakothek. On the left door appears Saint Francis receiving the stigmata. The inscription says : « Signastidomine Servum Tuum. Franciscum. Signis Redemptionis Nostrae ». This Renaissance cabinet with an architectural decor appearing as much in the structure faithful to Antique rules...

A very impressive Westphalian Gothic chest or ‚Stollentruhe’, Westphalia, Germany, circa 1500-1550. Wrought iron mounted oak, partially carved. The monumental rectangular standing ch...

Stoup in silver and ebony Augsburg, last quarter of the 16th century Attributed to the master architect, sculptor, and goldsmith Guglielmo della Porta (1500–1577) Includes a study co...

A rare 16th century Flemish Verdure Feuilles de Choux tapestry. Feuilles de Choux (cabbage leaves in French) tapestries include large leav...

WE HAVE THE PLEASURE TO PRESENT an Exceptionally Rare (Late Medieval) 16th Century German Wrought Iron Oak Chest or Stollentruhe. This is an Early...

A large 16th century Venetian cedar. wood Cassone is an exquisite example of the craftsmanship characteristic of the Italian Renaissance period, featuring beautifully detailed scenes dating to circa 1550-1580. Made from cedar wood, the chest has a deep, rich patina. Cedar wood was prized during the Renaissance for its durability and resistance to decay, making it an ideal choice for fine furniture intended to last for generations. In Renaissance Venice, cassoni were a standard part of a bride's dowry among the nobility and wealthy merchant classes. Venice was a thriving trade hub with a population of about 150,000 in the mid-16th century, and the upper classes commissioned these chests . The decoration of the chest is particularly breathtaking. Its surface features intricate figural panels that depict various scenes, which include historical, mythological, and symbolic representations. Among these are 16th century knights, chariots, mythical beasts, and lions. The designs are expertly silhouetted against a recessed ground, giving a three-dimensional quality that enhances their visual impact. The use of punch-work, a decorative technique involving the stamping of the wood with a mesh-like pattern, adds texture and depth to the surfaces. This technique is indicative of the meticulous attention to detail for which artisans in Italy were known during this period. Overall, this Venetian Cassone...

A Flemish Renaissance Biblical Tapestry 16th century In an open architectural setting, the central crowned and enthroned female figure flanked by three handmaidens, a fourth to the left urging a boy towards a kneeling woman on the right with an apple in her right hand, on the left a wooded landscape with a man walking in the distance, a man striking another over the head in the mid-ground, and a man, a woman, and a handmaiden approaching the scene in the foreground, on the right a man gesturing while others flee up a staircase and out of the scene, within a flower and fruit cluster surround punctuated along the top and bottom edges by balustrades and sphinxes, and along the sides by a figure, a mask, and a beaded and crowned man...

Elizabethan , Joined Oak , Court Cupboard Circa 1600 . Elizabethan carved cup and cover columns , original candle shelf , two upper doors and central panel beautifully inlaid with ho...

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...

RENAISSANCE CABINET in walnut molded with pyramidal frames. The front opens with four leaves and four drawers in the waistband. The cornice and drawer frames are adorned with carved ...

A rare carved walnut wardrobe opening with four door-leaves and two drawers in the lower part. The doors bear architectural views in low reliefs, fluted pilasters and Ionic capitals. Upper Body Two door-leaves with carved architectural perspectives open the wardrobe framed by three fluted pilasters with Ionic capitals. Each door-leaf depict two semi-circular arcades whose cornice and base shows a central vanishing point. Likewise the pavement’s lines act for the artisan as a way to create depth. The vaulting instead leads us to think the vanishing point has to be situated where the handle is, between the two complementaries reliefs. The elegant moulded belt hides an internal secret space, accessible through a moveable plank in the upper body. Lower Body Two door-leaves identical to those of the upper body framed by three fluted pilasters with Doric capitals. The base of the wardrobe opens with two large drawers. The sides also bear panels depicting architectural perspectives. The external pilasters share their Ionic capital with the facade’s pilasters. Thus we can observe on the wardrobe’s sides the capital’s lateral parts with the elegant volute specific to the Ionic order. This palace wardrobe is topped by an overlapping cornice standing on three consoles for the facade and two consoles on each sides. Placed right above the pilasters each console are adorned by fully expanded leaves. During the 15th century a major interest for architecture and perspective studies arises and influences patrons tastes. The work of great theorists such as Leon Battista Alberti...

Large super early French Renaissance painted and gilt carved framed mirror. Very large architecturally framed painted and carved wall mirror with stylized gilt carved and black paint...

This magnificent 16th-century German two-hand sword is a rare and historically important ceremonial weapon, hand crafted by renowned blade-smith Christoph Stantler (active circa 155...

This is a Chinese handcrafted porcelain provincial jar or vase, all hand painted in cobalt blue and dating to the Ming period of the early 16th century or possibly earlier. The jar ...

Rare carved Renaissance cabinet Period : 2nd half 16th century, ca. 1570 Origin : France, Burgundy or Languedoc This cabinet embody the produ...

Japanese Koto Wakizashi Sword Japan Ca. 1400-1600s Length: 24.25” Blade Total Length: 27.25 Nagasa: 18.5” Koto wakizashi, with wild midare (Soshu?) hamon, including wild boshi. Hada indeterminate, with Shakudo & gold dragon menuki, beehive design fuchi kashira...

An exceptional and rare 16th century Venetian textile, richly embroidered with 1.2 kilograms of gold metallic thread on deep red silk velvet. This beautifully preserved fabric exempl...

Original lock and key This piece of furniture shows no recess on its upper part. It opens with four folding-doors and two drawers within the belt. The key bears the date 1524 above cross motifs. Burgundy and Lyon regions subordinated themselves to architecture in a different manner than the other french schools. Rather than using particularly columns and pediments pieces of furniture from Lyon borrow architecture’s organization principles and rigorous designs. On the upper body a strong feeling of balance and symmetry appears with the folding doors reliefs. Swags of flowers and fruits held with knot cloth centered by a man seating on his arms. Here profiles, masks and chou de Bourgogne mingle with the structuring scrolls. The two lateral terms wear draperies and the goddess Diana in the center wears a belt of fruits similar to Hugue Sambin’s designs (Termes de Diane et de Venus, 1554, BNF). The two palm-leaves enriched drawers and the alternating scrolls belt balance the weight of the cornice with its alternatings consoles and tops. The lower body is also adorned by three terms with a feminine one in the center, all three are wearing fruits on their heads. The folding doors are centered upon a motif of cut cuirs by a mask in high relief. Wearing a feathered tiara...

SPANISH CHEST WITH ARCADE DESIGN ORIGIN: SPAIN PERIOD: LATE 15TH – EARLY 16TH CENTURY DIMENSIONS: Height: 61 cm
 Length: 135 cm
 Depth: 48 cm Chestnut wood 
Good condition This H...

Versatile small 3 drawer chest circa 1970's very clean condition dovetail drawers .