16th Century Furniture

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

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...

Asian Chinese (Ming Dynasty-Circa 1500) blue & green porcelain Shou Lau seated figure with oversize head (symbolism of longevity & luck) on a base suppo...

Christ on the cross Iron High period - 16th century Historical piece h 57 x l 34 cms Réf pm / 12 1900 euros

The Tibetan lamellar iron armor with dark patina, provided with shoulders and helmet, can be traced back to the 17th-18th centuries and is in excellent condition. It belonged to a pr...

Ananda is portrayed in a typical fashion, as a youthful monk with a shaved head and dressed in simple robes. He stands upon a double lotus pedestal with hands clasped in front of him...

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...

Exceptional pair of aigles of the 16th century of Italy Superbe pair of wooden sculpted aigles from the Italian Renaissance. Very Fine and delicate sculpture The pair of eagles se...

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...

A large and heavy (it weighs 109 lbs!) example of a traditional French pharmacy bowl, this bronze mortar with handles is from 1587, as seen on the production date beneath the molded ...

16th century German Gothic fireback from the early days of casting firebacks. The fireback is made of cast iron and has a natural brown patina. Upo...

Elevate your collection with this breathtaking oil painting, "Adoration of the Magi," skillfully rendered on a magnificent 51x40 cm Cotognino Alabaster panel. This extraordinary piec...

A very impressive Westphalian Gothic chest or ‚Stollentruhe’, Westphalia, Germany, circa 1500-1550. Wrought iron mounted oak, partially carved. The monumental rectangular standing chest with full-height stiles, extensively mounted with wrought ironwork straps terminating in quatrefoil finials which ’wrap’ around the chest edges. These are fixed with convex head nails. The ironwork with some remains of an originally red painted surface. In addition, running along the edges of the lid at the front and sides is a plain iron band, close-nailed. The feet of the two front legs are finely carved on the front face, in low relief with a rectangular arched ’panel’ depicting on the left a lion, on the right a dragon holding each a coat of arms. Regarding the age of circa 500 years, this coffer is in exceptionally good condition, with only smaller restorations.  Comparative literature • Baumeier, Stefan, Beschlagene Kisten; Die ältesten Truhen Westfalens, Essen, 2012. • Falke, Otto von, Deutsche Möbel...

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...

A striking Japanese late Muromachi Period (1333-1573) lacquered and giltwood figure of Yakushi Nyorai, the Medicine Buddha, seated upon an elaborate car...

Good Condition, Original Design Modified.

Step back in time with our Brussels 16th Century Pillow. At 19" x 9", its historic charm and elongated shape make it a unique and stylish addition to any seating area or bed.

500-600 year old sculpture of 'Hanuman', the Hindu monkey god, carved in sandstone. From temple in Burma, 15-16th century or even older. In very good condit...

Exceptional lacquered and gilded wooden cabinet, Venice, last quarter of the 16th century. The architectural facade is centered on a gable supported by columns reminiscent of ancient...

Renaissance relief depicting two female figures dressed in a chiton Italy, probably Rome, 16th century Marble, wooden frame (provenance label on the back) 28 x 20 x 5 cm This beau...

A large and unusual Himalayan bronze and mixed metal nine prong vajra featuring wrathful faces. In the style of the Tangut (Western Xia) Kingdom (1038 to 1227), but probably later, most likely 15th-16th century. The body of the vajra crafted from a copper alloy, with five wrathful faces on either side and gold and silver inlays to the center. The prongs crafted of iron, with each side having eight prongs arcing outwards around a central prong before coming back to a copper alloy point. The vajra is meditational tool...

Royal House Antiques Royal House Antiques is delighted to offer for sale this absolutely stunning, very large, Exhibition / Museum quality, hand carved 16th Century southern Italian...

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...

Pair of decorative Renaissance oak wooden reliefs depicting two man with curly hair and a moustache. The reliefs were probably part of a piece of furniture or architectural element. ...

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...

Superb and rare Renaissance period walnut buffet from the end of the 16th century representing the four seasons opening with four doors and two drawers on the front, The doors offer...

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 ...

16th century Hispano-Moresque lusterware charger decorated with stylized floral motifs. The tin-glazed lusterware produced at Sevilla shows the passing of Islamic artistic influence...

An exceptional, fine and impressive, rare antique Elizabethan English sterling silver communion chalice and paten; an addition to our diverse religious silverware collection. This exceptional two piece antique Elizabethan sterling silver communion set consists of a chalice and paten/diskos. The chalice has a cylindrical tapering shaped form onto a plain knapped pedestal and spreading circular foot. The body of this sterling silver communion cup...

Good Condition, Original Design Modified.

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 small Korean ceramic shallow bowl on ringed foot in the classic Buncheong (or Punch'ong) style from Joseon Dynasty circa 15-16th century. Originally intended for wine-drinking like...

Description Size does matter is what they say. That also means small size matters! This lidded box is 5.5cm in length and is so sweet in our opinion. In the shape of what seems to be a fruit and with a nice butterfly scene.? ? It's 17th century chinese porcelain...

Mid-16th Century Brussels Tapestry Pillow - 19" X 9", Authentic and Antique , Woolen

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...

A Chinese very early ming dynasty sandstone vase that has stood the test of time. China, The interior is three and a half inches deep. Ming dynasty so therefore they could be anywher...

Spanish Renaissance casket, 16th century In carved, polychrome and gilded wood decorated with a vase with horns of plenty, heads of cherubs and fruits. In the lock a shield with two ...

A Ming dynasty period glazed terracotta funeral table mingqi from 15th-16th century with food and drinks. Created during the Ming Dynasty, this glazed terracotta funeral table, known...

Good Condition, Original Design Modified.

An Unusual and Rare English ‘Memento Mori’ Carved Shrine with Two Human Skulls to the underside, a carved ‘Dragonfly’ Marble 16th / 17th Century England Size: 36cm high, 28cm w...

An exquisite and very rare 16th century renaissance Silk brocade fragments mounted and artistically displayed in the Glas case on the antique linen. Both fragments are greatly preserved and originated by its design from famous Palazzo Pitti in Florence. The ornaments contain flowers, jaguars, birds and Fleur De Lis- the symbol of royalty. The colours remain vibrant and parts of golden embroidery/ threads are in very good condition considering the age. Both fabric...

1597 Map of Alexandria by Georg Braun and Frans Hogenberg, Germany. From "Civitas Orbis Terrarum", part 2, published in Cologne by Bertram Buchholz. Printed in 2 parts. Title: "Alexa...

The copper engraving plate is titled "The Peace, " which is attributed to Edouard Baldus, who signed the work. This plate was used to create eng...

Burmese wood carving panel with flower (found from the city 200 KM away from Pagan or Bagan). Age: Burma, Ava Period, 16th Century Size: Height 104...

"Exquisite 1580 Ortelius Map of the Narbonne Coastal Region, France" Description of the Map: This map is an intricate copper etching from Abraham Ortelius's esteemed "Theatrum Orbi...

This hand carved Chinese wooden horse is a type of centuries-old burial figurine known as míngqì. Depicting the pleasures of daily life, míngqì f...

Ghostly Gargoyle or Water Spout fragment in Pierre de Bourgogne (Limestone). Mounted to the top of generally religious buildings to ensure water is taken away from the side of the bu...

An outstanding 16th century Italian (Venetian ) solid walnut and partially polychromed frame. Beautifully hand carved birds and flowers, this style was typical for Venetian time of 1...

15-7-19-1-2 Typical late Ming landscape dish. A very nice example! Condition Overall condition A (Very good) rimfritting, filled chip and 2 hairlines. Size 160 mm Period...

AN EXCEPTIONAL MUSEUM QUALITY, ITALIAN, RENAISANCE WALNUT CASSETTONE WITH A FITTED BUREAU IN THE UPPER PART & EXCEPTIONAL BAMBOCCI CARVING, LOMBARDY - This exceptionally rare, museum quality, piece of early furniture was conceived and crafted as an artwork of the finest quality of its time. Throughout time it has been a luxurious, statement piece which has protected it, and fortunately it has survived in virtually, original condition. - This magnificent cassettone exudes the character and quality of the finest, late-Renaissance furniture. Northern Italian Renaissance furniture often had the sides, legs or angles, 'a Bambocci', incorporating carved figures which were considered unique sculptures in their own right. - The putti on this cassettone are beautifully carved and of sculptural quality. Each angel has one arm raised to heaven, a poignant touch. - The lion’s paw feet are a classical feature and make a great statement. - This cassettone was conceived to have visual impact through the quality of the carving, as well as being very practical with the writing compartment fitted in the top part. - It has survived in very original condition with a few small repairs and losses, and the colour and patina are warm and lustrous. - This cassettone is illustrated Illustrated in C. Alberici, Il Mobile Lombardo, Milan, 1969, p. 45, one of the seminal works on Lombardy furniture, and has been in two renowned collections. The hinged top in two sections faced with a solid moulded edge. The front part has a fall front and opens to reveal a writing compartment. The fall front retains its original lock and is concealed with a false drawer which is above three drawers. All with moulded panels, escutcheons and retaining the original iron handles. The front ends have exceptional, bambocci, carved putti raising their arms to heaven above trailing foliage. Standing on magnificent lion's-head carved feet. The sides are panelled. Exceptional original colour and patina. Literature : Illustrated in C. Alberici, Il Mobile Lombardo, Milan, 1969, p. 45. A Gonzalez-Palacois, Il mobile in Liguria, Genova, 1996 illustrates related pieces Measures: Length 147 ½ cm. 58 in, height 104 cm. 41 in, depth 75 cm. 29½ in, Provenance: Coll. Private Azzate The Collection of Sandro and Lidia Orsi, Ca’ Mera, Varese. Regarded as one of the most beautiful homes in Lombardy, Ca’ Mera, the country house of Sandro and Lidia Orsi was filled with beautiful objects from many different epochs. A renowned antiquarian from Milan, over his lifetime Sandro and his wife Lidia revived the Renaissance and Baroque character of the house and instilled their own unique vision into the interiors, which culminated with the creation of a Kunst – or Wunderkammer. “I have never seen such an example of poetical taste”, Sir John Pope...

16th century Vietnamese Animist ceramic vase. Beautiful and abundant fossil growth from being submerged under water. Natural original patina. Part of a very large collection of shipw...

Sharing with you this very nicely decorated and rare 16th century Ghendi with a green and yellow dragon decoration. It is in very good condition. Provenance: Collected in the 1980's...

Sharing with you this most interesting 16th Century dish. Small saucer dish with flat everted rim, painted with a frog looking up in a grassy verge beside flowers and tree, the cav...

400 - 600 year old Burmese carved sandstone sculpture. Calf standing under the mother. From Buddha temple or Hindu temple in Burma. Untouche...

Pairr of Trompe L'Oeil still life paintings on wood-framed.

Mid 16th Century Antique Flemish Baroque Tapestry Pillow

The quality of these exhuberant backstools demonstrate why Italian Renaissance furniture was as highly prized as old-master paintings. Th...

16th-century antique Flemish tapestry pillow 25'' X 21''. Empire and traditional.