Renaissance Furniture

Provenance: Oudenaarde manufacture, Flanders, Mid-16th Century Tapestry wool and silk texture Dimensions 340/330 x 340/338cm Extremely rare piece In good condition Washed and lined It is a typical Flemish tapestry "with large leaves", well preserved, woven with green, yellow and brown yarns whose colors have remained fresh and intense. The market and collectors in recent decades have greatly re-evaluated tapestries with "large leaves", appreciating their high decorative value and ability to blend in with modern furnishings. Our tapestry belongs to a very particular subcategory of the "feuille de...

Beautiful antique Italian solid walnut side table, features round top with beveled edges over six beautifully bobbin turned legs, connected to one another with optogonal star shaped ...

This is a beautiful 19th century Tuscan Renaissance fragment. Perfect for placement above your mantle, stove, a bed, or use it to dress up a wall b...

Antique French Renaissance / Gothic Revival cabinet / sideboard / buffet / bar / server. Made of walnut featuring Rouge marble top with paneled backsplash over two drawers and lower...

This antique Italian embroidered panel is a finely handwoven work in wool, showcasing exceptional craftsmanship and decorative richness. Likely dating from the 18th century, the vert...

Beautiful antique Italian solid walnut side table, features round top with beveled edges over six beautifully bobbin turned legs, connected to one another with optogonal star shaped ...

Beautiful antique Italian solid walnut side table, features hexagonal top with beveled edges over six beautifully bobbin turned legs, connected to one another with optogonal star sha...

"Perseus Rescuing Andromeda" Masterful Old Master Oil on Canvas Painting, Large size, framed. Painting depicts the dramatic scene from Greek mythology where Perseus, the hero, saves ...

Cassettone italiano in Radica di noce e Noce massello, realizzato artigianalmente nel 1980 nello stile lombardo del XVII secolo, con quattro ampi e profondi cassetti definiti da cor...

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...

Beautiful antique Italian solid walnut side table features rectangular top with beveled edges over four beautifully bobbin turned barley twisted legs, connected to one another with c...

This late nineteenth century French Henri II style walnut enfilade or sideboard features four fluted half columns with scrolling capitals and a beveled walnut top. Three drawers of d...

Great image after Claude Lorrain Fine steel engraving Published circa 1850 Unframed.

A Vintage Mahogany Secretary Desk brought to you by Niagara Furniture. This desk is impressive in both it’s design and scale. Made of beautifully grained mahogany and mahogany veneer...

Italian Double Bed Headboard in Painted Wood with Shell and Leafy Volutes. Handcrafted from fir wood in the second half of the 20th century, this antique double headboard is a softl...

Beautiful antique Italian solid walnut side table with four beautiful walnut cabriole carved legs and detailed by the shaped corners, beveled top and central drawer with brass handle...

On offer here is an exceptional Spanish Renaissance bargueño, crafted in the mid 19th century, from solid chestnut wood. This masterpiece, with its warm brown color, exudes timeless ...

Introducing an exceptional antique Dutch cabinet that epitomizes 18th-century craftsmanship. Dating back to around 1750, this meticulously crafte...

This luxurious pillow features a stunning 19th-century silk panel with intricate metallic embroidery at its center. The antique embroidery displays an ornate floral and vine motif in...

Great image after Domenichino Fine steel engraving Published circa 1850 Unframed. Free shipping

Exceptional Genoese cabinet called stipo "a bambocci" from the Italian Renaissance in walnut from the end of the 16th century with its original base Museum quality piece Provenance:...

Venetian mirror made in the strictest Murano tradition. Assembled with crystal/gold and red elements handmade in the Murano furnaces. Wooden frame with a natural finish.

Rectangular Venetian mirror, made in the strictest Murano tradition, finely hand-engraved on the bands by skilled master engravers. All the elements are assembled with floral element...

17th century Italian Carved Walnut Credenza. Credenza is beautifully crafted featuring intricate woodwork with decorative carvings of mythological creatures and foliage along the doo...

Precious rectangular Venetian mirror, made in the most rigorous Murano tradition. Finely hand-engraved on all elements, it is assembled with numerous floral elements in crystal and g...

Large and impressive baluster ceramic vase by Faïencerie de GIEN, France, 1970s. Hand-painted majolica on earthenware. Stunning decor ! Height: 17.3"(44cm), Diameter : 9.9"(25cm). St...

Venetian mirror with antiqued frame and carefully hand-engraved decorations according to the Murano tradition. All glass elements are finished with grinding on the edges. The mirror ...

ANTIQUE SILVER CRUCIFIX/LATIN CROSS A striking and decorative piece made from continental silver with a central crucifix engraved with a fairly naive depiction of Christ. The centr...

Wonderful image after Veronese Fine Steel engraving. Published by Tallis, London. circa 1850 Unframed.

19th Century Continental Renaissance Style Savonarola chair. Handsome antique Continental Renaissance style walnut Savroarola chair, side chair, armchair or throne chair. This beautifully carved Gothic style chair...

This beautiful carved Renaissance front section was a part of a built in cabinet. The carvings are typical for Bretagne area in France and it can be ...

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...

Precious rectangular Venetian mirror, made in the most rigorous Murano tradition. Finely hand-engraved on all elements, the external bands are painted with special colors for glass. ...

Baldaquin -/ large four-poster bed in carved gilded wood: the 4 feet/posts are carved with foliage and flowers The headboard, as well as the 4 sides of the canopy are decorated with...

19th Spanish refectory desk table with solomonic legs and iron stretcher Original perfect condition Top table in perfect shape. Very heavy piece Between legs 81.10 in

An eye caching figural sculpture of Saint George and the Dragon, After Antoine Louis Barye. As the legend goes, Saint George—a soldier venerated in Christianity—defeats a dragon. The...

Venetian mirror made in the strictest Murano tradition with the center carefully hand-engraved. All assembled with crystal/gold elements handmade in the Murano furnaces. Wooden frame...

Antique French Renaissance / Henry II style walnut buffet a deux corps / vaisselier / cupboard / cabinet / hutch featuring Neoclassical carved figural / acanthus / floral theme. The...

Stunning Italian Renaissance style Majolica Allegorical Serpent Handled Vase, Blue-crowned Ginori Mark, Model and Decoration No. 13-88 Provenance Celine Dion Jupiter, Florida Estate ...

A single beautiful liqueur glass made in Murano Italy. Very good vintage condition, consistent with age and use. A nice addition to any table, bar or just to display in your collecti...

19th century French carved walnut hall bench Breton Brittany Pew Renaissance. Direct from Brittany, France, an ornately hand carved antique French hall bench...

Hand made bespoke pillow A panel of Cisele Velvet . Venetian and dating from second half of 16th century An Ottoman Pomegranate design. The deep pile Magenta silk velvet voided ...

Pair of ornate Italian candelabra-style lights. They feature metal framework with intricate floral and grapevine motifs, including grape clusters and vine leaves. Each lamp holds m...

Classic shaped Venetian mirror, made in the most rigorous Murano tradition. Finely hand-engraved on all elements, it is assembled with numerous floral elements in crystal and gold ha...

Florentine Black and Gold Gilded Frame, Italy. Fantastic art frame with incredible patina that would work with your favorite watercolor or oil painting. This frame certainly capture...

Precious octagonal Venetian mirror, made in the strictest Murano tradition. Finely hand-engraved on the elements of the upper crest and on the bands, it is assembled with numerous fl...

This traditional style Verdure hanging shows a closeup leafy plant still life, with two oak trees in full leaf behind, and a placid pond with low hills along the horizon. Shades of g...

An exceptionally fine example of an early 17th Century Spanish renaissance walnut vargueno / bargueno escritorio writing desk on trestle stand. Sp...

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),...

17th Century Flemish Old Master Painting Circle of Frans Francken Rare 17th century Flemish School painting, circle of Frans Francken the Younger (1581-1642). This Cabinet picture, ...

A stunning large antique Italian Raffaellesco majolica wall charger / centerpiece, showcasing exceptionally executed handmade and painted design, dating to the 19th century or earlie...

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 ...

Venetian mirror made in the strictest Murano tradition with a crest and a rich frame carefully engraved by hand with painted sidebands. All assembled with golden crystal elements han...

Pair of 19th-century Italian Renaissance Style Majolica portrait chargers  Style of Cantagalli: One dish has two minor 'flea-bite' chips to the back, not...

Carved Italian marble basin with a circular shape with a thick, sturdy rim and four symmetrical protrusions that could have been used for lifting or securing the piece. The interior...

Impressive antique 19th century Italian Renaissance style large sideboard. Made entirely of carved walnut wood. The carving work is spectacular made by a great master of wood. We ask...

A pair of Renaissance style very ornate antique Italian terra cotta vases decorated with Caryatides and garlands, in good condition. The bodice of the urns is set on a square base. T...

Exquisite museum quality large antique High Renaissance style emerald, natural pearl, garnet silver pectoral cross 19th century Makers Mark: K.T. for Tauböck, Karl Austro-Hungarian E...

Important heraldic Spanish tile of the 'azulejo por tabla para techo' type, in arista y cuenca technique, made in Sevilla in the early 16th century. Depicting a two-section tower an...

17th century French leather coffer, chest or trunk with nailhead detail from burgundy on newer wooden base.   

Late 18th century or early 19th century French school, antique painting featuring the Virgin Mary holding Jesus Child, Saint John the Baptist around. Our work has been painted using ...

A Flemish armorial tapestry. Late 16th century, possibly Spanish Woven in wools, depicting the arms of the Abbasid dynasty, combined with those of ...

19th century Renaissance style chair. Handsome antique Continental Renaissance style or Gothic style walnut Savonarola chair, throne chair, si...

Acquareccia plate Patanazzi workshop Urbino, last quarter of the 16th century It measures diameter 17.12 in; foot diameter 11.53 in; height 1.88 in (43.5 cm; 29.3 cm; 4.8 cm). Weight State of conservation: wear and a few small minimal detachments of enamel, chipping on the raised areas, peeling of enamel at the brim on the back. This large, shallow basin is equipped with a wide and convex well. It is umbonate with a contoured center. The brim, short and flat, is enclosed in a double rounded and barely raised edge. The basin has a flat base without rims; it has a slightly concave center in correspondence to the well. The shape takes inspiration from the basins associated with the metal forged amphora pourers that traditionally adorned the credenza. These were used from the Middle Ages to wash hands during banquets. Two or three people washed their hands in the same basin and it was considered an honor to wash one’s hands with an illustrious person. The decoration is arranged in concentric bands with, in the center of the umbo, an unidentified shield on a blue background: an oval banded in gold with a blue head, a gold star and a field with a burning pitcher. Rings of faux pods separate the center from a series of grotesque motifs of small birds and masks. These go around the basin and are, in fact, faithfully repeated on the brim. The main decoration develops inside the flounce of the basin, which sees alternating symmetrical figures of winged harpies and chimeras. The ornamentation, outlined in orange, green and blue, stands out against the white enamel background. This decorative style, defined since the Renaissance as “grottesche” or “raffaellesche”, refers to the decorations introduced after the discovery of the paintings of the Domus Aurea towards the end of the fifteenth century. The discovery of Nero's palace, buried inside Colle Oppio by damnatio memoriae, occurred by chance when a young Roman, in 1480, fell into a large crack which had opened in the ground on the hill, thus finding himself in a cave with walls covered with painted figures. The great artists present in the papal city, including Pinturicchio, Ghirlandaio, Raffaello, immediately visited these caves. The decorations found there soon became a decorative subject of immense success: the term grotesque , with the meaning of “unusual,” “caricatured,” or “monstrous,” was later commented by Vasari in 1550 as “una spezie di pittura licenziose e ridicole molto”( “a very licentious and ridiculous kind of painting”). The decorations “a grottesche” also widely circulated in ceramic factories, through the use of engravings, variously interpreted according to the creativity of the artists or the requests of the client. Our basin is reflected in similar artifacts produced at the end of the sixteenth century by the factories of the Urbino district. See the series of basins preserved in the main French museums, among which the closest in morphology is that of the Campana collection of the Louvre (Inv. OA1496); this however has a more complex figure decoration, while the decoration of our specimen is sober and with a watercolor style. The style, sure in its execution, approaches decorative results still close to the works produced around the middle of the sixteenth century by the Fontana workshop. The decoration is closely linked to their taste, which later finds its natural outlet, through the work of Antonio, also in the Patanazzi workshop. Studies show the contiguity between the two workshops due to the kinship and collaboration between the masters Orazio Fontana and Antonio Patanazzi, both trained in the workshop of Guido Fontana il Durantino. It is therefore almost natural that their works, often created according to similar typologies and under the aegis of the same commissions, are not always easily distinguishable, so much so that the presence of historiated or “grottesche” works by Orazio is documented and preserved in Antonio Patanazzi's workshop. Given that the studies have always emphasized the collaboration between several hands in the context of the shops, it is known that the most ancient “grottesche” works thus far known, can be dated from 1560, when the Fontana shop created the so-called Servizio Spagnolo (Spanish Service) and how, from that moment on, this ornamentation became one of the most requested by high-ranking clients. We remember the works created for the Granduchi di Toscana, when Flaminio Fontana along with his uncle Orazio supplied ceramics to Florence, and, later, other commissions of considerable importance: those for the service of the Duchi d’Este or for the Messina Farmacia of Roccavaldina, associated with the Patanazzi workshop when, now after 1580, Antonio Patanazzi began to sign his own work. Thus, in our basin, the presence of masks hanging from garlands, a theme of more ancient memory, is associated in the work with more advanced stylistic motifs, such as the hatching of the chimeras and harpies. These are found here on the front with the wings painted in two ornate ways. In addition, the theme of the birds on the edge completes the decoration along the thin brim and can be seen as representing an early style typical of the Urbino district during a period of activity and collaboration between the two workshops. Later, a more “doll-like” decorative choice, typical of the end of the century and the beginning of the seventeenth century, characterized the period of the Patanazzi workshop under the direction of Francesco. Bibliography: Philippe Morel, Il funzionamento simbolico e la critica delle grottesche nella seconda metà del Cinquecento, in: Marcello Fagiolo, (a cura di), Roma e...

On offer here is an exceptional Spanish Renaissance bargueño, crafted in the mid 19th century, from solid chestnut wood. This masterpiece, with its warm brown color, exudes timeless ...

This late 19th century French Henri II Renaissance style hand pegged walnut writing table or side table is finished on all sides, allowing it to be placed in the center of a room. It...

Handsome oak library piece that can be used as a desk or Work table. Made of oak having carved gadrooned edges. A stretcher made of iron. Carved on all sides and five drawers ox bow ...

Rare and Stunning 17th century Italian Renaissance walnut center table. This majestic library table was hand-carved in Italy during the early 1600’s. Two thick planks of rich walnut...

16th century Italian carved and polychromed figure of a male saint or prophet with a wonderful presence. Shown holding an open book in his right hand with flames at his feet, mid-16t...

The Sovereign of the Seas, an early British "First-Rate Ship of the Line" was launched in 1637 and was the most magnificent ship of her era. Designed in 1630s by Phineas Pett, she was the first ship to have three full gun decks, carrying a total of 102 guns, on the orders of King Charles I. No expense was spared in her construction. Renamed the Royal Sovereign when Charles II came to the throne in 1660, she fought in several battles during the second and third Dutch wars between 1666-1673. The nine years war against France broke out in 1689 and the Sovereign of the Seas (Royal Sovereign) was present at the Battles of Beachy Head...

A rare 18th century Italian walnut chest / credenza, Renaissance Period, neoclassical influenced, having two elaborately carved figural statue c...

It is a delightful classic Venetian mirror from the island of Murano in gold color with white gold flower finish, engraved and worked entirely by hand according to the Murano traditi...

A large fragment of Venetian Silk Velvet Dating from late 16th Century One silk selvage edge present Study / document piece. Historic time worn appeal. Please study photographs ...