16th Century Furniture

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...

Title: Huum opp. condrusorum caput (...) Anno partae salutis 1574. **Type:** Print (Colored Copper Engraving) **Year:** Circa 1580 **Technique:** Colored Copper Engraving **Medium:...

Large and very nice Blue and White Charger/Dish from the Jiajin/Wanli Period. Additional information: Material: Porcelain & Pottery Region of Origin: China Emperor: Wanli (1572-1620...

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

This is a fine example of a 16th century English tapestry in great condition.

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...

A wall hanging tapestry, simply put, is a textile specifically designed and woven to portray an artistic scene with the intent of hanging it on a wall. Antique tapestries, those that...

The Martyrdom of Santa Barbara Wool and silk tapestry Bruges, 1530-50 270 x 198 cm Expertise by Professor Guy Delmarcel This Flemish tapestry is a remarkable example of 16th-century craftsmanship, distinguished by its exceptionally well-preserved color palette. The medaillon-shaped center stands out against a background of dark blue roses and acanthus leaves. It depicts the martyrdom of Saint Barbara, identified by the tower where she was imprisoned. According to legend, her father, Dioscorus, is about to behead her with a scimitar, while an angel descends from the heavens to strike him with lightning. At the bottom, beneath Saint Barbara, two fantastical creatures. On the left is a griffon depicted with the body of a lion and the head and wings of an eagle. On the right is a creature with the body of a leopard, the head of an elephant adorned in a fancy blue cloak. Both animals face each other standing either side of a green hill top in the middle of the tapestry. The lavish scene of the tapestry is framed by a border which is embellished with foliage, flowers and fantastical elephant heads in blue and white on a red background. The corners and center of the edges display goldsmith-objects. The vibrant brick-red colour and striking bluish-green leaves create a stunning visual impact, showcasing the outstanding state of conservation. Professor Guy Delmarcel connects this tapestry to a series of textiles produced in Bruges after 1530, characterized by their fantastical nature scenes populated with imaginative creatures. Most feature similar roses and acanthus-leaves as well as other vegetation, with wild animals appearing ready to attack. Two almost identical pieces preserved at the Art Institute of Chicago (Bruges, 336 x 599 cm) and the Rijksmuseum in Amsterdam ("Tournai," 285 x 490 cm) serve as prime examples. The entire surface is filled with greenery, along with birds and fantastic animals. This tapestry exemplifies the rich decorative style of the time, merging naturalistic and poetic elements with exotic animals that spark the imagination. Other works of this type follow the theme of the "Closed Garden." In the lower register, fantastical creatures occasionally appear, as seen in the exquisite Bruges Tapestry displayed at the Museum of Decorative Arts in Paris, and in the example from the Burrell Collection in Glasgow. The Parisian tapestry from Bruges features a mythical animal in the lower register, dressed in blue fabric, which closely resembles the animal in our tapestry. If Enghien or other centers produced similar pieces, several elements suggest a stronger connection to Bruges for two formal reasons: The overall colour-palette of our tapestry fabric characterized by pronounced brick-red colours and bluish-green leaves, aligns more closely with Bruges than with Tournai or Enghien. The intricate border design with the warm brick-red background, adorned with floral motifs, goldsmith-inspired elements such as incense burners and small bells, can be traced back to Bruges around 1530. This style, often associated with heraldic imagery, underscores the tapestry's connection to the city's rich artistic heritage. A comparable example is the tapestry featuring the Arms of Paolo Giovio, now part of the Prince of Liechtenstein's collection in Vaduz. This piece, set against a brick-red background, depicts arms and armors, cornucopias, boys riding grotesque dolphins, as well as various flowers and leaves. All available literature dates this group of tapestries to the second quarter of the sixteenth century. A key formal element further supports this dating: the executioner, depicted preparing to behead Barbara, wields a Turkish scimitar, a reference to the frequent Ottoman incursions into Central Europe beginning with the 1529 siege of Vienna...

IMPORTANT TRIPTIC FLORENTINE SCHOOL (Italy) 16th Century Oil on wood, representing the Eternal Father, Our Lady with Baby Jesus, Saint Bernadino of Siena, San León, Saint Stephen an...

A small Thai cast seated bronze figure of the historical Buddha Shakyamuni, Northern Thailand, Ayutthaya period, 16th century. This sculpture captures the m...

Palatial portal made of Medicean breccia, a type of marble that owes its name to its extensive use by the Medici family in Tuscany in the 16th century for facings and decorations. Co...

On the left post of the lower body, is written the date 1596 in a cartouche This cabinet has two bodies. The upper part, set back, is moulded and carved. At the bottom, the cabine...

Immerse your space in regal charm with this 16th-century Brussels tapestry pillow, adorned with opulent designs of fruits and foliage. The earthy greens and golds lend a warm and sop...

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...

Often when centuries-old trunks did not survive the passage of time, 19th-century menuisiers (French woodworkers) would salvage the surviving wood and carve new furniture such as desks and similar trunks. The facade was typically the most ornate section of these antique trunks, making intact frontages highly valued antiques. Hand-carved from oak in Picardie, France, circa 1550, this period Gothic architectural is a beautiful example of an antique trunk facade that was not incorporated into a more recent furnishing. Picardie is a former administrative region in northern France that is home to many Gothic cathedrals. The Amiens Cathedral (mid-13th century) is the largest standing cathedral in Europe and is truly a masterpiece of Gothic architecture. Our trunk frontage has five vertically oriented inset panels embellished with various forms of Gothic tracery, including high-arching niches...

A Korean ceramic bottle-form vase circa 16th century Joseon Dynasty. It was likely intended as a wine bottle, the pear-shaped vessel with flaring neck feature a celadon glaze exterio...

Large wedding chest in tinted and gilded walnut, the lid animated with a frieze of pearls, the sides with compartments, the belt decorated with gadroons. It rests on four claw feets.

Antique map titled 'Tabula Asiae XI'. Based on the interpretations of Solinus and Munster, this Ptolemaic map covers the region roughly of Thailand and Malaysia. An oddly shaped (Mal...

Superb and rare 16th century credenza from the southwest of France with a Gothic influence The credenza opens with two doors. Very beautiful ironwork with superb Gothic irons fitting...

This fine and imposing sculpture is an excellent example of 16th century Italian craftsmanship. The figure is stood on a raised, shaped rectangular base with a carved "dolphin" at th...

This very large and unique granite stone mortar from the 16th century has a beautiful and rare color palette. This impressive piece has a great patina and character. It looks impress...

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 ...

A wall hanging tapestry, simply put, is a textile specifically designed and woven to portray an artistic scene with the intent of hanging it on a wall. Antique tapestries, those that...

Infuse your decor with historic allure using our Brussels 16th Century Pillow. Measuring 19" x 11", its classic design and unique size make it a standout accent for any seating arran...

This is a wonderful bird's-eye plan/view of the oldest city in Sweden. Visby, the largest city on the island of Gotland was an important Viking city and the main centre of the Hanseatic League...

Step into the past with our Brussels 16th Century Pillow. Measuring 20" x 12", its timeless design and generous size make it a striking centerpiece for any sofa or bed.

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...

A wall hanging tapestry, simply put, is a textile specifically designed and woven to portray an artistic scene with the intent of hanging it on a wall. Antique tapestries, those that...

Antique Chinese cloisonne on copper arrow vase, possibly Ming Dynasty 16th century. Bottle form with pair of "arrow" tubes on either side of ...

The lower part It stands on an ogee molded base and four feet with two front legs more massive and detailed than the others. It opens with two doors and three drawers. The vert...

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...

A handsome pair of antique 16th century English oak wall panels, carved during the reign of Henry VIII with an enriched parchemin design. More than 500 years old, these panels are originals of the period offering a glimpse into 16th century England...

Elevate your space with the Brussels 16th Century Pillow, measuring 19" x 9". This exquisite piece captures the essence of historical charm, adding sophistication to any setting

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...

Discover the beauty of this antique Indian wooden temple fragment, a remarkable 16th-17th century artifact showcasing traditional craftsmanship. Carved from solid wood, this exquisit...

16th century Italian ivory figure of Christ mounted against green felt fabric and framed in a coordinating cream frame. This piece was once originally pa...

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

A very charming 18th century mortar from the Catalan region in Spain. Beautifully carved from stone. A wonderful accessory piece for any kitchen, bathroom, or table top.

Sea monster Carrara marble mouth fountain Italy, late 16th century It measures 13.8 x 31.5 x 18.9 in (35 x 80 x 48 cm) State of conservation: some small evident gaps and widespread signs of wear due to outdoor exposure. The gray marks crossing it do not come from restoration, but are rather the natural veins of the marble. This work has some morphological characteristics typically associated with the iconography of the sea monster: an elongated muzzle, sharp teeth, protruding eyes, elongated ears, and a coiled serpent's tail. An in-depth series of studies on artistic depictions of the sea monster attempted to verify how this symbol evolved in antiquity in the European and Mediterranean contexts and how it gradually changed its image and function over time. The iconography itself is mutable and imaginative and its history is rich with cultural and artistic exchange, as well as the overlapping of ideas. This occurred so much that it is difficult to accurately pinpoint the "types" that satisfactorily represent its various developments. However, we can try to summarize the main figures, starting from the biblical Leviathan and the marine creature that swallowed Jonah (in the Christian version, this figure was to become a whale or a "big fish", the “ketos mega”, translation of the Hebrew “dag gadol”). Other specimens ranged from the dragons mentioned in the Iliad (which were winged and had legs) to "ketos” (also from Greek mythology), the terrifying being from whose Latinized name (“cetus”) derives the word "cetacean". See J. Boardman, “Very Like a Whale” - Classical Sea Monsters, in Monsters and Demons in the Ancient and Medieval Worlds, in Papers presented in Honor of Edith Porada, Mainz am Rhein 1987, pp. 73-84). In Italy the monster underwent yet further variations: it can be found in Etruscan art on the front of some sarcophagi representing the companion of souls, while among the Romans we find the “Pistrice” (cited by Plinio in Naturalis Historia PLIN., Nat., II 9, 8 and by Virgilio in Eneide: VERG., Aen., III, 427), which appeared in the shape of a stylized hippocampus or a very large monstrous cetacean and evolved into a hideous being with a dragon's head and long webbed fins. During the Middle Ages, the sea monster was the object of new transformations: at this time, it is often winged, the head is stretched like a crocodile, the front legs are often very sharp fins - sometimes real paws - until the image merges with dragons, the typical figures of medieval visionary spirituality widely found throughout Europe (on this topic and much more, see: Baltrušaitis, J., Il Medioevo fantastico. Antichità ed esotismi nell’arte gotica, Gli Adelphi 1997). In Italy during the 15th and 16th centuries, the revival of classicism - representative of the humanistic and Renaissance periods - led to a different reading of these "creatures". Indeed, the sea monster was also to find widespread use as an isolated decorative motif, especially in numerous fountains and sculptures where dolphins or sea monsters were used as a characterizing element linked to water (on this theme see: Chet Van Duzer, Sea Monsters on Medieval and Renaissance Maps, London, The British library, 2013). From the morphological point of view, the "sea monsters" of this period are mostly depicted as hybrid figures, in which the body of a mythological or real being (a hippocampus, a sea snake, a dolphin), is joined to a head with a rather indistinct appearance. It was usually characterized by large upright ears, an elongated snout, sharp teeth and globular, protruding eyes; a complex and indefinite figure, both from the symbolic point of view and from that of its genesis. The work we are examining is placed as a cross between the medieval sea serpent and the Renaissance dolphin, with stylistic features which recall the snake as often used in heraldry (such as the "snake" depicted in the coat of arms of the Visconti - the lords and then dukes of Milan between 1277 and 1447 - and which, for some, may be derived from the representations of the “Pistrice” that swallowed Jonah). In the search for sources, Renaissance cartography and in particular woodcuts should not be neglected. See for example the monsters of Olaus Magnus, from the editions of the “Historia de gentibus septentrionalibus” (“History of the peoples of the north”) and the natural histories of Conrad Gesner, Ulisse...

A wonderful and very special piece. This bronze buddha hand sculpture, perhaps a fragment of a larger piece at one time, originally came from the prestigious Doris Wiener Gallery ...

Beautiful Antique Pillow Hand made incorporating a Very Rare late 16th Century Embroidered Panel Italian Renaissance work , most likely Florence Exquisitely embroidery using colou...

Although when most people hear the word “gargoyle”, they probably envision small, winged creatures with grotesque visages. However, the phrase has a deeper meaning, encompassing any carved head (animal or human) that function as waterspouts. From the Early Renaissance (late 1400’s/early 1500’s), our gargoyle fountain spout features a human-like face with pointed ears, possibly representing a centaur or a satyr. The roughly rectangular block of marble was hand-carved in Arezzo, in the Tuscany region of Italy. All sides except the front of the cream-colored stone have a sawed finish, resulting in a rough texture. The back has been excavated, adding to the character of the gargoyle. A 1 ½” diameter hole has been cut all the way through, forming an open mouth of the gargoyle. The gaping mouth was often a symbol used to conjure images of devouring giants and used to remind people that they are susceptible to certain forces. Our 15th/16th century marble...

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...

A very rare - finest quality - mid 16th century Italian Renaissance engraving (after Raphael) by an anonymous pupil of MARCANTONIO RAIMONDI (1480-...

Important antique solid table from the 16th century. Characterized by a simple and rustic line in solid oak wood for the legs and a single walnut board for the top. These tables were...

Large Chinese Blue and White "Grape Dish", Ming Dynasty, Jiajing Period, 16th Century Large blue and white "Grape Dish". Ming dynasty (1368-1644), Jiaj...

A monumental 16th century sandstone Renaissance fireplace mantel. Finely sculpted with a moulded beam and colomn supports. Decorated with flower motives, guirlandes and cirkels. Lov...

A beautiful, unique riding spur probably dating from the 16-17th century, As an accessory, there is also a historic horseshoe. The spur is in very good condition, there is no major d...

An exceptionally rare antique German Renaissance carving by Stephan Rottaler (1581-1533), Bavaria circa 1500. The carving is by Stephan Rottaler, Landshut, Germany, an architect who ...

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

Embrace timeless elegance with our Brussels 16th Century Pillow, sized at 20" x 10". Immerse your space in the intricate beauty of 16th-century Brussels design, expertly captured in ...

This exquisite set of two carved walnut architectural panels from France showcases the evolution of artistic styles from the 16th to the 18th century. The 18th-century panel, adorned...

Original oilpainting on woodplate by the famous artist Christian Wilhelm Dietrich (Dietricy). Born in Weimar 1712, died in Dresden 1784. In ...

400-600 year old sandstone figure of a "Demon" carved in deep relief. In good original condition with a natural age-related patina that emphasizes the figure's age and authenticity. ...

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...

Very beautiful German cabinet probably black forest dated 1590 in walnut. The drawers as well as the door have superb chiseled locks. Which is a monumental work and a sign of the be...

Spanish Gothic Cathedral Chest, Circa 1600, decorated with Gothic motifs and a central cross. Built from solid oak , showcasing a beautiful aged patina. It shows reassuring signs of ...

Antique map titled 'Tavola Nuova di Schiavonia'. Ruscelli's map of the Balkans, with a coat of arms. The mountains are represented, river systems are shown in detail, and cities, towns and ports denoted throughout this 16th century map. A number of islands in the Adriatic Sea are also shown. This map originates from 'Espositione & introduttioni universali di Gir. Ruscelli sopra tutta la Geografia di Tolomeo (..)' published by Girolamo Ruscelli, 1561. Girolamo Ruscelli (1500-1566) was a cartographer, humanist, and scholar from Tuscany. Ruscelli was a prominent writer and editor in his time, writing about a wide variety of topics including the works of Giovanni Boccaccio and Francesco Petrarch, Italian language, Italian poetry, medicine, alchemy, and militia. One of his most notable works was a translation of Ptolemy...