16th Century Furniture

Superb Italian Renaissance bronze mortar with his pestle - 16th century Very beautiful model with AN in its center surmounted by a cross below . The mortar is decorated with several...

This is an absolutely outstanding and extremely expressive sculpture of Crucified Jesus Christ in carved polychrome wood, on the background of a 16th century Silk Florentine fine fab...

Belgium / 16th century / wooden sculpted panel / oak / Gothic / Rustic / Antique A panel in oak wood enriched with Gothic graphic carvings. Hand carved in Belgium in the 16th centur...

Sharing with you this lovely remnant of a great vase in fantastic cobalt blue. With a hare mark at the base. Dating: Jiajing, 16th century. Condition: Neck cut off, base rim with c...

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...

This cabinet is composed of two bodies, the upper one being recessed. The extraordinary proportions are enriched by a mythological and floral carved decor. The Lower body stands o...

Antonio de Leyva, Duke of Terranova, Prince of Ascoli (1480–1536) was a Spanish general during the Italian Wars. During the Italian War of 1521, he commanded Pavia during the siege o...

Antique print titled 'Das rennen und stechen'. Engraving of a Medieval tournament. This print originates from 'Thurnier Buch. Von Anfang, Ursachen, ursprung und herkommen (..)' b...

French Bronze Sculpture of Youth Wrangling a Horse by Guillaume Coustou (1677-1746). Best known for his monumental statues of horses, Coustou was the royal sculptor for Louis XIV an...

A 16th-century Henry VIII English Oak Linenfold Chest, circa 1540, is a rare example. Made from solid oak boards, the chest features a four-panel lid r...

A double-bodied walnut sideboard made in the late 16th century, about 1580, in Tuscany. During in Renaissance, monumental forms and cut decoration were favored for furnishings. Typic...

A very early oak chest with lovely silvery patina of heavy plank construction raised off the floor with integral legs extending the depth of the edges, and a hinged ridged top with t...

An exceptional Indo-Portuguese colonial mother-of-pearl veneered casket with silver mounts India, Gujarat, 2nd half of the 16th century, the silver mounts Goa or probably Lisbon Measures: H. 16 x W. 24.6 x D. 16.1 cm An exceptional Gujarati casket with a rectangular box and truncated pyramidal lid (with slopes on each side and a flat top) made from exotic wood, probably teak (Tectona grandis), covered with a mother-of-pearl mosaic. The tesserae, cut from the shell of the green turban sea snail (Turbo marmoratus, a marine gastropod) in the shape of fish scales, are pinned to the wooden structure with silver ball-headed nails. The casket is set on bracket feet on the corners. The masterfully engraved decoration of the silver mounts follows the most refined and erudite Mannerist repertoire of rinceaux and ferroneries dating from the mid-16th century. The high quality and refinement of the silver mounts and, likewise, the silver nails that replaced the original brass pins used to hold the mother-of-pearl tesserae in place indicate the work of a silversmith probably working in Lisbon in the second half of the 16th century. The Indian origin of this production, namely from Cambay (Khambhat) and Surat in the present state of Gujarat in north India, is, as for the last three decades, consensual and fully demonstrated, not only by documentary and literary evidence - such as descriptions, travelogues and contemporary archival documentation - but also by the survival in situ of 16th-century wooden structures covered in mother-of-pearl tesserae. A fine example is a canopy decorating the tomb (dargah) of the Sufi saint, Sheik Salim Chisti (1478-1572) in Fatehpur Sikri in Agra district in the state of Uttar Pradesh, north India. This is an artistic production, geometric in character and Islamic in nature, where usually the mother-of-pearl tesserae form complex designs of fish scales or, similar to the dishes also made using the same technique, with the thin brass sheets and pins, stylized lotus flowers. The truncated pyramidal shape corresponds, like their contemporary tortoiseshell counterparts also made in Gujarat, to a piece of furniture used in the Indian subcontinent within the Islamic world prior to the arrival of the first Portuguese. This shape, in fact, is very old and peculiar to East-Asian caskets, chests or boxes used to contain and protect Buddhist texts, the sutras. A similar chest is the famous and large reliquary chest from Lisbon cathedral that once contained the relics of the city's patron saint, Saint Vincent. Both match in shape, having the same kind of socle or pedestal and bracket feet, and in their engraved silver mountings, featuring the same type of refined, erudite decoration. Their differences lie in the silver borders that frame the entire length of the edges of the chest (both the box and the lid), pinned with silver nails, and on the lock plate, shaped like a coat of arms in the Lisbon example. Given the exceptional dimensions of the reliquary casket...

Oak sculpture of Saint Anne, 16th century. Large oak sculpture of Saint Anne. Work from the Upper Rhine, Basel region. First third of the 16th century. An arm is missing from the i...

This is an exceptional and historic pair of Damascus enameled metalwork vessels or urns. These art objects show signs of rough use and handling through the centuries. Although it is ...

Beautiful French Renaissance cabinet in two parts. The top part with two carved doors featuring classical figures opening to an interior fit...

This rare Renaissance cabinet is richly decorated on the doors and drawers with carvings depicting the four seasons, and on the uprights and the entablature, alternating flower bouquets inlaid with mother of pearl. This is a beautifully conceived piece of furniture, representing a crowned portico with its entablature and cornice. The upper body Articulated separately in a ternary rhythm, as with the lower body, the upper part opens with two carved doors. The doors are framed by both the lateral uprights and the casing. There are cartouches carved into the casing in which mythological figures are depicted with flower bouquets. On the doors: On the right: Spring, a female figure crowned with a wreath of leaves, holding a basket full of flowers. She is wearing necklaces and bracelets on each arm, with drapery discretely wrapped around her body and is standing on a winged putti’s head. On each side are depicted a tree and a village with a steepled church. Above her head floats the three signs of the zodiac corresponding to the season: Aries, Taurus and Gemini. On the left: Summer, a bearded man crowned with ears of corn and bearing armfuls of corn. He is standing on a similar winged putti, flanked by a tree and an ear of corn. The following three signs of the zodiac appear: Cancer, Leo and Virgo. On the uprights and the central casing a number of smaller figures seem to represent virtues and vices that newly wedded couples should aspire to and avoid. On each side, at the bottom of the uprights, there is a dog representing fidelity. Above, a lion embodies power, wisdom, and justice. In between, on the left upright, there is a figure of noncombatant Athena wearing a helmet and holding a spear, an arrow pointing down and in her left hand, a shield, symbol of protective power. On the right upright, the goddess Venus controls the arrow of Cupid. The iconography here acts as a clear reminder of the required virtues that both parts of a young couple need to fulfill: fidelity, power, wisdom and justice. For him, the goddess Athena focuses on the power. Whereas for her, it is Venus who shows how to control Cupid’s arrow. On the central casing at the bottom, by way of contrast, there is a peacock, a symbol of pride and at the top, a monkey representing lust and mischief. In between, a woman holding a chain and a cup full of precious stones while on the floor sits a half empty opened casket. This can be interpreted as a symbol of extravagance. Above, the entablature, decorated with male figures resting on leaking urns, may symbolize the passing of time. They are flanked by two consoles decorated with acanthus leaves and separated by flower bouquets (inlaid with mother of pearl). Finally on top, a cornice acts as a crown for the piece of furniture. The lower body The moulded base stands on four round, flattened feet. Represented on the doors: On the left: Autumn, a stocky, naked man crowned with vine leaves, holding fruits in his right hand and with his left, picking a bunch of grapes from a climbing vine. Standing on a mound, he is surrounded by a vine and a hill, at the foot of which a man presses the grapes in a big vat after the harvest. Above the climbing vine appear the signs of Libra, Scorpio and Sagittarius. On the right: Winter, an elderly man wearing a fur cloak...

France / 16th century / set of 20 castle keys / metal / Antique / Rustic Rare charming set of 20 Antique keys from the 16th century, France. A beautiful ...

Artempo Italian palazzo fireplace surround. Exquisite original wear for exceptional authentic interior design project. 16th century period and one of a kind castle element. This fire...

This chayère chair of beautiful proportions stands on a rectangular box base enriched by vermiculure motifs executed in flat-plane. This base is topped by a moulding of strong gadroo...

Collection Jean Thuile Around the mid-sixteenth century French furnishing evolves in its conception and ornamentation. The start of major archi...

Superb late 16th century signed colonial Japanese Namban export lacquer coffer Momoyama period, late 16th/early 17th century, inscribed 'Arisato' on the bottom H. 30.5 x W. 43...

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...

A 445-year-old late medieval 16th century heraldic encaustic tile of Flemish origin (unmarked). Made from terracotta and glazed, this 6-inch antique tile is an excellent collector’s ...

Child Jesus Polychrome and gilded wood Umbria, first half of the 16th century H 40 cm Entirely naked, the Child is standing, leaning on his left leg, his right leg forward; he keep...

Pair of Persian (16th Century) carved and painted open design window panels with floral decoration.

Whereas many pieces of furniture during the Italian Renaissance were heavily painted or inlaid with decorative motifs, French examples utilized hand-sculpted elements as the predomin...

Fine set of four wooden columns, entirely carved and gilded by hand, dating from the 16th century and of Spanish origin. The shaft has a two-level zig-zag carved pattern, (fishbone),...

Late Momoyama period, late 16th century The coffer is decorated in black lacquer, urushi, on cedar wood, decorated with gold dust and silver, maki-e, and nashiji, mother-of-pearl, r...

A late 16th Century, refined Italian wall mirror made of hand carved Limewood from an antique villa near Verona, in good condition. The frame is flanked by a pair of intricately carv...

Early Arista y Cuenca tile, most likely made in Sevilla. Azulejo tile decorated with a gemetric pattern with 4 central leafs within a cirlce. Mid 16th century In very good conditi...

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

Spain / 16th century / table / oak, wrought iron / Rustic / Mid-century A very early and rare oak table from the heritage of a Spanish ship. Hand crafted in full oak in the16th cen...

An exceptional late Renaissance Italian credenza, hand-crafted in Tuscany circa 1570 from richly grained Circassian walnut. This singular piece ...

A very nicely decorated top level potting and top quality painted plate Wanli period, ca 1580-1600 The scene possibly shows flowers Additional information: Material: Porcelain & P...

Add a touch of Renaissance charm with our Brussels 16th Century Pillow. Measuring 18" x 15", its timeless design and generous size make it a luxurious addition to any sofa or bed

Inkwell Calamelli workshop (attr.). Faenza, second half of the 16th century Height 4.33 in; length 8.07 in; depth 2.95 in (11 cm; 20.5 cm; 7.5 cm) Weight: 0.800 lb (363 g) State of conservation: some chipping to the top of the mask around the mouth. Handle glued, without any restorations; minor chips in some raised areas. This object has the shape of a foot wearing Greek-style footwear, as can be seen in some raised areas. The foot is anatomically modeled with bare toes, while the ankle is partially covered by the footwear. On the heel, there is a small circular handle to support the object. The mouth of the container is shaped like a mask. The interior, completely enameled, suggests that the piece was intended to be used as an inkwell or to contain some other liquid. The base, however, is not enamelled. The painted decoration, scant and brief, consists of rapid cobalt blue shading between the toes of the foot, with more precise emphasis on the nails. It is accompanied by yellow citrine accents to enhance the forms. The mask is painted with the tip of the brush, to accentuate the tense nature of the eyes and to accentuate their outline. Thin strokes of yellow-orange line the interior of the mouth. Since the Renaissance, this decoration has been referred to as "compendiaria" and it characterizes the period of production extending from the mid-16th century to approximately the middle of the following century. It significantly influenced tastes at the time. It evolved from the polychrome style "istoriato" and transformed into a new style that "summarized" (compendia), or condensed, the ornamentation of the works into a few colors, placing greater prominence on the shapes. It was often inspired by metal specimens. Since the Renaissance, this decoration has been referred to as "compendiaria" and it characterizes the period of production extending from the mid-16th century to approximately the middle of the following century. It significantly influenced tastes at the time. It evolved from the polychrome style "istoriato" and transformed into a new style that "summarized" (compendia), or condensed, the ornamentation of the works into a few colors, placing greater prominence on the shapes. It was often inspired by metal specimens. This artwork finds parallels in similar objects all characterized by this refined style and produced in the city of Faenza and other Italian centers starting from the mid-16th century. The closest comparable example in majolica is a foot acquired by the British Museum in 2011 (inv. 2011, 8008.1). This was previously published by Carmen Ravanelli Guidotti in 1996 and later by Dora Thornton in 2016 during the conference on Renaissance ceramics...

An absolutely stunning Bizen ware stoneware vase/jar/vessel - produced sometime during the late Momoyama period (1568-1600) / Early Edo Period (1603-1867). Bizen yaki...

The blue dragon and the red dragon are depicted in dynamic postures, each extending its claws to grasp a ruyi pearl (如意珠). The phoenix is adorned with flowing feathers and delicate c...

Large Annamese Blue and Enameled Ceramic Box, Chu Dau kiln, Vietnam, circa 1500. The cover with a flat top decorated with landscape design of mountains and tre...

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...

16th Century Spanish Terracotta Vase Hand made marks around the vase.

Italian school table of the 16th century "Crucified Christ with the Virgin, Saint John and Mary Magdalene" Oil on board Period frame 16th century ( gold frame parts ) Measures: 41cm ...

This outstanding Tonnerre stone fireplace is a masterpiece of the first French Renaissance. It was sculpted in 1534, under the reign of King François the 1st for Philippe Merlan (1503-1546), Baron of Montpont, Lord of Jully-lez-Arnay-le-Duc. This monumental fireplace...

Small renaissance cabinet from Lyon. ORIGIN: FRANCE, SCHOOL OF LYON PERIOD: 16th CENTURY Height:151cm Depth: 120cm Length: 54cm Walnut ...

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

This Renaissance Cabinet reveals the great mastery of the Lyon workshops which are at the origin of its realization. Sculptors and wood-carvers worked here in symbiosis to express an...

16th century Thailand Sawankhalok ceramic vase from the old city of Sawankhalok known for its pottery. Beautiful and abundant fossil growth from being submerged under water. Natural original patina. Six Available Part of a very large collection of shipwrecked pottery...

French stone console with red marble top in the style of Louis XIV, featuring legs carved out of a solid piece of limestone. Please note: due to the heavy weight, the console is not...

Italy 16th century A liturgical Pax Brede or Osculatorium. The carved wooden board “Kiss of Peace” representing Christ as a man of sorrows. The pax has the shape of an ancient templ...

A remarkable pair of large Ming Dynasty (1368-1644) earthenware Imperial roof decorations - ornamental architectural terracotta roof tile beasts. 15th/16th century or earlier, Northern China, most likely Forbidden City, Dongcheng District, Beijing, figural pottery modeled as mythical qilin (foo dog / guardian lion), the crouching beast with legs back and flaming body depicted ready to pounce. Retaining partial remnants of the red wax export seal, indicating they are authentic and were legally exported out of the country. Dimensions: (approx) Largest: 18" Tall, 19" Wide, 8" Deep History: Chinese roof tiles have been a part of Chinese architecture for over 2,000 years. These unique and beautifully crafted tiles have become an integral part of traditional Chinese culture, and have gained international recognition for their beauty and cultural significance. In this article, we will explore the different types of Chinese roof tiles, their construction, cultural significance, preservation and restoration techniques, and modern uses. Chinese imperial roof decorations or roof charms or roof-figures (Chinese: 檐獸/檐兽; pinyin: yán shòu) or "walking beasts" (Chinese: 走獸/走兽; pinyin: zǒu shòu) or "crouching beasts" (Chinese: 蹲獸/蹲兽; pinyin: Dūn shòu) were statutes placed along the ridge line of official buildings of the Chinese empire. Only official buildings (palaces, government buildings, and some temples) were permitted to use such roof decorations. Occasionally arranged in an outward marching procession with various different examples, the number and type indicating the importance of the duties performed within the building or within the courtyard protected by a gate. With a maximum number of nine, the mythical beast was one of the highest in rank, thus modeled set to pounce upon the man and lower ranking creatures, ready to devour them should they stray from performing their duties with faithfulness and rectitude The Design and Construction of Chinese Roofs: The roof design is an important aspect of Chinese architecture, with each component of the roof playing a specific role. Chinese roof tiles fit into the overall design of the roof and are placed on top of wooden supports called purlins. The interlocking system of Chinese roof tiles ensures that they stay in place and prevent leaks. Ridge tiles...

Title: "Braunschweig and Lüneburg Duchies: Authentic Depiction by Abraham Ortelius" This is an exquisite example of Abraham Ortelius’s cartographic craftsmanship: an original antiqu...

The beautifully carved front façade is not the only impressive element of this oak strongbox trunk; the interior is reinforced with an iron strapwork “cage”, strengthening the alread...

A Renaissance Bed Valance Spain or Italy 16th century From a set of bed hangings originally part of the decor from a castle in France A long impressive ...

This engraving illustrates the capture of Limburg by Spanish forces under the command of Alexander Farnese, Duke of Parma, in 1578 during the Eighty Years' War. The scene vividly dep...

The art of decorative stone work - known as Pietre Dure, or polychrome hardstone inlay resurfaced in Rome in the sixteenth century with the flowering of the Italian Renaissance. Tabl...

Early Woodcut Bird's Eye View of Rouffach, France, by Sebastian Münster, 1554 Description: This rare 1554 woodcut is a bird's eye view of Rouffach, a town in the Haut-Rhin departmen...

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

This is a terracotta olive jar from central Spain. It has a wonderful aged patina with chalky painted finish. It makes a great statement as a sculpture in a room on a pedestal, alone...

This pair of important Italian Renaissance marble baths belonged to the Warrior Pope Julius II, one of the most powerful and influential Pop...