16th Century Furniture

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

Antique Tapestry Square Small Scatter Size Wool & Silk Black Rug, Circa Date: 1550s. This extraordinary piece represents a rare survival from the mid-16th century, executed in a ...

This finely carved wooden panel from Belgium, dating to the 16th century, exemplifies the restrained geometry and rustic elegance of Gothic domestic ornamentation. Hewn from solid oa...

Title: Rare 16th Century Map of the Holy Land and Palestine by Matthias Quad Description: This rare late sixteenth-century map titled Palaestina quae et Terra Sancta vel Terra Promi...

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...

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...

Impressive 16th century Prison Door from Grasse, France. Soundly constructed from in oak and hand forged iron hinges, bolts and lock. Serves perfectly as an entry to a wine cellar ...

A remarkable early French oak sideboard dating to around 1550, displaying the quiet power, authenticity, and time‑worn beauty that define true rustic antiques. Crafted nearly five ce...

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...

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...

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 ...

French cast iron fireback of the 15th/16th century. From the early days of casting iron: a heavy gothic plate, four centimetres thick and over a hundred kilos, with finely cut detail...

Italy / 16th century / Venetian chest or Cassone / oak, polychroom / antique / renaissance A large carved and gilt painted Venetian marriage chest made in oak in the 16th century i...

Woven in Brussels during the late Renaissance, this authentic tapestry fragment reflects the celebrated verdure style that made Flemish workshops among Europe's finest textile produc...

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

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...

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 ...

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...

Antique Tudor/Elizabethan oak six plank boarded coffer/sword chest, circa 1540. The coffer from the period of King Henry VIII having a hinged lid enclosing a storage area lined with...

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 ...

16th Century Hispano-Moresque Ceramic Charger. Hispano-Moresque pottery emerged following the Moorish occupation of Spain, blending Islamic artistic traditions with European tastes. ...

French cast iron fireback of the 15th/16th century. Gothic ornament from the early days of casting iron, with a brown patina left as found. A fireback stands against the back wall of...

This solid base stone is a striking piece of off-white French limestone, perfect for those who appreciate the timeless elegance of Axel Vervoordt’s aesthetic. The rectangular, reclai...

Incan Kero Tumbler-shaped drinking vessel Period: 15th 16th Century Region: Peru Material: Wood Polychroming Finest in the world! Museum quality! Keros were used in Peru to consum...

Indulge in the opulence of the Renaissance era with our exquisite "Renaissance Splendor: 16th Century Brussels Pillow," measuring 13" x 9". This unique pillow captures the grandeur o...

An antique Italian pair of Corinthian Capitals from the Renaissance period, hand carved in limestone. Minor fading, scratches due to age. Wear consistent with age and use. Circa 1600...

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...

Belgium / 16th Century / cabinet / oak / Antique / Rustic Primitive Antique cabinet in full oak. Hand crafted and carved in the 16th Century in Belgium. Crafted from blond solid oak...

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...

A remarkable and exceptionally sculptural Late Gothic carved oak bench coffer (Stollentruhe) dating from the late 15th to the early 16th century, most likely originating from Austria...

1579 Ornate Map of Burgundy County by Ferdinand de Lannoy Description of the Map: This is a beautifully detailed map of the Burgundy region, titled "Bvrgvndiae Comitatus Recentiss....

An exceptional and visually arresting set of twelve early playing cards, dating to the late 16th century and originating from Austria. Executed in traditional woodblock print and delicately hand-painted, this rare group beautifully reflects the transition from the Late Gothic period into the Early Renaissance in Central Europe. Each card displays remarkable period detail, particularly in the finely rendered court figures dressed in late 15th-century attire- short doublets and jerkins, tight hose, puffed and slashed sleeves, feathered caps, and stylized armor elements. The costumes embody the expressive elegance of Late Gothic fashion while hinting at the emerging Renaissance aesthetic north of the Alps. The surviving hand-coloring- earthy reds, deep blues, muted greens, and warm ochres- enhances the strong linear quality of the woodcut technique. The natural wear, surface patina, and scattered losses visible in the images attest to the cards’ age and authentic use, adding to their historical character and collectible appeal. The sizes of the cards are irregular. The set includes a mix of pip and court cards, with beautifully stylized suit symbols and dynamic figural compositions. The expressive faces and exaggerated silhouettes are characteristic of 16th-century Austrian and Southern German printmaking traditions. Accompanied by an antique wooden storage box...

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...

Stunning oak statue of Saint John the Evangelist. France circa 1550-1650 , Beautiful weathered oak. Christian tradition says that John the Evangelist was John the Apostle. He was on...

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

This rustic stool dates back to the 16th century and was crafted in France. The beautiful patina testifies to its great history. The seat can be opened to reveal a storage compartmen...

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

An exceptional and remarkably rare Late Gothic solid wrought iron castle door, entirely hand-forged in France during the second half of the 15th cent...

Crafted from an authentic 16th Century Brussels tapestry, this extraordinary lumbar pillow represents over four centuries of European textile artistry. Woven by Flemish master weaver...

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 finely cast North European leaded bronze pouring jug dating to the 16th century, or possibly earlier. Produced as a practical domestic vessel, it displays the restrained yet purpos...

An impressive late 16th-century portrait of a noblewoman of the Spanish court, attributed to the Circle of Juan Pantoja de la Cruz (1553–1608), one of the most important court portra...

A framed hand-colored 16th century map of Northern Scotland by Gerard Mercator entitled "Scotiae pars Septentrionalis", published in Amsterdam in 1636. It is a highly detailed map of the northern part of Scotland, with the northwest Highlands and the cities Inverness and Aberdeen, as well as the Orkney Islands and the Hebrides. There is a decorative title cartouche in the upper left corner. The map is presented in an antiqued brown wood...

A very important 17th-century Turkish Ottoman silver-mounted Karabela sword-saber with a medieval, late 15th-century A.D. (880 AH – 920 AH) Mamluk blade from the Egyptian Mamluk Sult...

An exceptional and rare Gothic-Renaissance memento mori, sculpted in marble and surmounted by an original iron cross, originating from Austria, 16th century. Carved from solid marble...

Tyrol, Austria, 16th–18th Century A remarkable and truly one-of-a-kind Gothic carved chest from the Tyrol region of Austria, reflecting centuries of craftsmanship, use, and careful ...

A remarkable ensemble of six antique wrought iron door locks dating from the late Renaissance through the Baroque period (16th/ 17th century). These large and highly decorative locks...

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 Jacobean 16th Century Set of Oak Carved Hall Chairs One With Barley Twist & Carved Lion Pediments & One With Carved Rear Both With Brass Studs & Leather Upholstery. Makers Initials...

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...

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

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...

Rare and well-preserved 16th century cupboard / cabinet. Detailed carved top section depicting a floral leaf design and people in polychrome lacquer. Front with red lacquer, pair of ...

Antique 16th Century Egyptian Cairene Rug

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 Spanish Terracotta Vase Hand made marks around the vase.

this important credenza was crafted with great precision and was meant to be viewed from 3 sides, the rectangular top above a a case with an upper frieze carved with interlocking for...

An exceptionally rare and evocative 16th- century Gothic Italian (Pisa) tournament helmet, forged entirely in wrought iron, weight 2.9 kg and presented together with its original pe...

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...

Rare Large Grape or Cauldron in Solid Bronze, Europe, 16th Century. This is a rare and large museum quality 16th century grape or cauldron or cooking pot in solid bronze. A practi...