Renaissance Furniture

Wonderful naive oil painting of a monk Great muted colors in unrestored condition Oil on canvas. No stretcher. There is another religious painting on the verso Unsigned. Art...

A magnificent antique French limestone fireplace in Renaissance style! This historic mantel (fireplace) dates from the 18th century and exudes a lot of allure due to its robustness a...

Renaissance Wellhead Hand Carved Marble Container Planter Basin Water Fountain . A rare and impressive Historic Italian 15th century Renaissance hand carved marble well head square shape with scrolls to the corners. Decorated with 3-dimensional vessels and armorial with a rampant lion with raised forelegs as if to strike and ready for battle. To be used as an interior planter stone container, focal point, water feature fountain...

A large oil portrait of Victor-amédée king of Sardinia, circa 1718 "Victor Amadeus II" Victor Amadeus II (Vittorio Amedeo Francesco; 14 May 1666 – ...

Stunning life-size carved wood sculpture of a man's head dating from circa 1700 in the south of Europe.  

Late 18th C., early 19th C. Italian mirror Ebonized walnut guilloche frame, old silvered glass mirror Measures: 47 by 41.75 inches.

Pair of reliefs, San Juan and San Mateo. Polychrome wood. Possibly, Burgos school, 16th century. Pair of carved and polychrome wood reliefs that each show a seated human figure wri...

Pair of polychrome wood sculptures. "San Juan and San Pablo". Castilian school, 16th century. Both male figures have been represented standing, with their main iconographic attrib...

This is an unusual pair of 17th Century (or earlier) Flemish (?) carved lions that once formed part of a large cabinet or, perhaps, the feet of an elaborat...

18th century Etchings by Vincenzio Vangelisti after Guercino (1591-1679), Measures: 22" x 14" Depiction of The Prodigal Son ("Figlio Prodigo") after the style of the Renaissanc...

Extraordinary, large Italian Renaissance table of strong, linear design. The thick 2-plank top with a narrow dentil edge, above a frieze cont...

Over the course of five centuries of use, this Italian Renaissance walnut chair has acquired a rich patina. Its austere form is relie...

Bench rare European carvings 18th century rare Europe. A very rare bench made during 18th century in Europe. A few parts have been restored.  

3 English Renaissance style (17th Cent) walnut 3 tier spindle back side chairs with upholstered seat. (priced each).   

This is an old large Spaniard hand painted and carved wood nude baby Jesus. He has hand painted large expressive eyes and eye brows. His abundant hair is bro...

This late 17th century Spanish Renaissance writing table is constructed of solid walnut and features an impressive 30-inch wide top made from a single plank of walnut. The top joins ...

A Flemish Renaissance Biblical Tapestry 16th century In an open architectural setting, the central crowned and enthroned female figure flanked by three handmaidens, a fourth to the left urging a boy towards a kneeling woman on the right with an apple in her right hand, on the left a wooded landscape with a man walking in the distance, a man striking another over the head in the mid-ground, and a man, a woman, and a handmaiden approaching the scene in the foreground, on the right a man gesturing while others flee up a staircase and out of the scene, within a flower and fruit cluster surround punctuated along the top and bottom edges by balustrades and sphinxes, and along the sides by a figure, a mask, and a beaded and crowned man...

Tapestries were ubiquitous in the castles and churches of the late medieval and Renaissance eras. At a practical level, they provided a form of insulation and decoration that could be easily transported. In addition, the process of tapestry weaving, where every stitch is placed by hand, enabled the creation of complex figurative images on an enormous scale. This is an excellent example of 16th century Flemish Renaissance Tapestry...

English Renaissance embroidery of a crest having a crown top mounted on a red velvet background in an ebonized wood frame.

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...

French glazed earthenware bowl in the manner of Bernard Palissy. Bernard Palissy (1510-1590) was a French potter who created extravagant glazes on his rustic ceramics...

Notable 18th century Flemish Tapestry Depicting the Biblical Account (Genesis 19) of Lots Flight from the destruction of Sodom and Gomorrah with Lot...

Very rare Renaissance hand carved capital of the 16th century corner carved limestone Chapiteau from a Cloister in France. It is the coronation the base for the beautiful statues of ...

17th century Spanish boxwood Christ on the cross.

This rare example of a Renaissance bronze mortar is decorated with starbursts all along the everted rim and features 4 large starbursts on the sides between the ribbed handles. The c...

This extraordinary cupboard is made of the finest quarter sawn oak in the tradition of the Dutch Renaissance during the “Dutch golden age” It is a small two-door cabinet with arche...

Italy, Firenze, late 17th century Simple but elegant typical Florentine candlestick. It has cracks and small lacks of the pinstripe typical o...

This colorful antique "encoignure" was created in Italy, circa 1780. The corner cabinet which can also hang on a wall, depicts a painted biblical scene of the presentation of John th...

Beautiful 17th century (1650-1680) Sgabello. The countries where this could originate are located in and around the Alps. So Switzerland, Austria, Southern Germany, and Northern Ita...

"Antique hand colored map of Flanders, Belgium, circa 1630, engraved by Henricus Hondius. “Henricus Hondius II (1597 – 16 August 1651) was a Dutch eng...

This 16th century French engraving illustrates an episode in the Trojan War – although the actual one illustrated is in question. According to recent scholarship, it depicts the corp...

Portapaz. Silver in its color and gilded. Century XVI. Portapaz made of silver that has a handle (decorated with delicate plant motifs similar to those of the pilasters) and a female and a male bust at the bottom, as well as other architectural elements on the back, and, on the front, an architectural composition classicist basement (with busts flanking a flower and a cross), two pilasters (vegetal decoration and capital recalling the composite order) with entablature (flowers flanking an angel's head; moldings), and a semicircular arch finish with elements veined in relief under cross and flanked by two architectural motifs in the upper part. This composition frames and enhances a gilt silver relief where you can see the Lament or Cry over the Body of Christ, with the Virgin holding the head of Jesus, Saint John at her side, the Magdalene and other characters, a cross following the group and a landscape background with houses and plant elements. This architectural structure mentioned is similar to the one present in other 16th century portapaces, such as that of the Magdalena de Dos Hermanas parish (Hernando de Ballesteros el Mozo, around 1575); or that of the Galaroza parish (same author and date); or that of the portapaz of San Miguel de Jerez de los Caballeros (in some details); etc. As for the relief, it is possible to clearly see a strong Italian influence, and the similarity between it and important pieces such as the Portapaz known as “de Cisneros by Juan de Burgos (1493-1497; MuseoCatedralicio de Alcalá de Henares), as well as in paintings and reliefs. Also noteworthy are both the male and female busts in the lower area and the Maltese cross (or Saint John's) that appears in this area. This symbol was used since the 12th century as an insignia by the Knights Hospitallers of the Order of Saint John of Jerusalem, also known as the Order of Malta...

17th century Italian Renaissance-style walnut straight 4-legged Sgabelli with V cut on back (one with incised cross).

"This rare pair of upholstered open armchairs relate to examples in museum collections in France, the USA and the UK. Few pieces of Renaissance furniture featuring ram’s head motif arm terminals survive as the chairs would have been in the ownership of the elite symbolising leadership and authority. The condition of these armchairs reflects their age and use and they have a rich colour and lustrous patina. The form of these chairs is characteristic of a stereotypical Renaissance model. The upholstered section of the backs are upholstered in wool with applied 17th century floral needlework faced with gilded studs and supported by square section uprights. The channelled tablet and stylised rosette incised curved arms terminate in acanthus capped carved rams' masks and are supported by column turned uprights headed by an entrelac collar. The ram is a symbol of leadership and authority and it also determination, action, initiative, and Aries, the first sign of the Zodiac. The seats are upholstered in wool with applied 17th century needlework faced with gilded studs and supported by tapering column/ring turned front legs and square section back legs. Some of the stretchers with moulded detailing. Standing on front ball feet. Exceptional original colour and patina. Henri II 1550-60. Condition: The chairs are both sturdy with exceptional colour and patina. One armchair with a splice on the rhs back leg and replaced but period front and lhs stretcher both bearing old nail marks, two other replaced stretchers and the back uprights bearing old nail marks indicating that they were upholstered at some point. The other armchair with an old repair to a break in the right back leg and an old patch near the end of the leg, replaced but period back and lhs stretcher, small patch to bottom of lhs arm where it meets the support. Old worm marks and some losses. Considering the age of the armchairs, these repairs and replacements are not unusual and consistent with the repairs on the related armchairs in museum collections. They suggest that the chairs either fell backwards at some point or someone leant back while sitting in them. Back Height 107cm, 42in, Seat Height 59.5cm, 23½in Width 60cm, 23½ in, Seat 59cm, 23¼in Depth including arm 59cm, 23¼in, Seat 49cm, 19¼in Provenance: Deaccessioned by The National Galleries of Scotland Bearing an old transport label from Alain Moatti (French architect) to Mrs Katz, London Literature: Related to : There are comparable armchairs in international museum collections dated to the second half of the 16th century. Most share the following characteristics with the above pair, the form, the ram's mask carved to the end of each arm, the curvilinear outline of the arm rests, the ring turned front legs as well as the plain square section back legs and plain stretchers. 1. Two stained glass windows...

This piece is a brown oak French Renaissance sideboard that dates from the 1700s. It’s made from solid oak and the ornate designs have bee...

The relief was probably a door of the Sagrario. The piece follows a customary decoration in the tabernacles of the Renaissance and the Baroque. Compare, for example, with the sevente...

Rare, small, late-Renaissance, Nuremberg, iron, 'armada box', strongbox or travelling safe with its original, naïve, painted decoration This is a rare, s...

SHIPPING POLICY: No additional costs will be added to this order. Shipping costs will be totally covered by the seller (customs duties included). The centre painted with archaic de...

Pair of reliefs; scene with carriage with skull and scene with portico from the 16th century. Gilded and polychrome wood. Castilian school, 16th centur...

Italy, Firenze, late 17th century Simple but elegant typical Florentine candlestick. It has cracks and small lacks of the pinstripe typical o...

Set of 20 Renaissance (17th Century) engraved, hand-colored etchings for Johann Bayer's book 'Uranometria', a star atlas, in wooden frames with white mat....

16th C. hand carved Capital stone base architectural element sculpture pedestal. Very rare 16th century Renaissance corner Capital. Hand carved limestone Chapiteau Capital from a Cloister in France. From an ornamental point of view, it is the coronation, the upper part of a post or a column or pilaster pillar. A beautiful Architectural element garden ornament. It can used as a Base for a coffee glass table or as a side table for drinks or to mount books. A stunning Fragments to be used as stand for a sculpture. Use it as a pedestal or as a mounted decorative object. In an entryway a bathroom a living room, in an office, it will create an incredible focal point. It can make a beautiful base for a floor lamp by a leather reading chair...

An extraordinary azure maiolica dish in the Farnese service, made by Castelli d'Abuzzo between 1580 and 1589. In the peak of the High Renaissance, Cardinal Alessandro Farnese commissioned a dinner service from the Castelli maiolica...

A late 16th century oil on copper painting by Nicolò Cercignani, an Italian Old Masters artist of the late-Renaissance or Mannerist period, depicting the Raphaelesque transfiguration...

Vanitas. Oil on panel. Surroundings by Vincent Sellaer (c. 1500-Mechelen, before 1589). Oil on canvas that shows, on a background with trees and hills, a child figure sitting on a ...

Giovanni Ottaviani (1735-1808) Le Logge di Raffaello Hand Colored Engraving "2 joined copper plate engravings with later hand colouring ""Loggie di Raffaelo nel Vaticano"" by Giov...

superb table or consolde in walnut of the Spanish renaissance with a drawer in its center of the 17th century Original irons and lock very nice work on the drawer Superb patin...

Nuremberg chest or corsair chest from the 17th century from Germany Nuremberg Very elegant chest with a beautiful patina In his original state The l...

A museum quality piece, this is an exquisite example of a 17th century antique Flemish mythological tapestry depicting Mercury, Janus, and the Sabine Women...

LUIS DE MORALES (Spain, 1512-1586). The Virgin with a book, the Sleeping Child and Saint John. Oil on panel. Altarpiece with relics may be related to The Royal Site of San Lorenzo de El Escorial. Published: Mateo Gómez, Isabel. Revista de Estudios Extremeños, 2018, Tomo LXXIV, Nº. II, pp. 1115-1128. Table with the Virgin of a little more than half body, sitting on a bench and leaning on a table, reading with the sleeping child on her lap; on the right, a Saint John appears from behind the bench and puts a finger to his mouth asking for silence so as not to disturb Jesus' sleep. The oil is framed by a reliquary altar in ebony wood: flanked by two fluted columns with Corinthian capital and based, located on a base with the relics (read their signs from left to right, they host those of San Silvestre, San Felipe Apóstol, San Felipe Neri, San Antonio Abad, Santa María Magdalena, Santo Sepulcro de Nuestro Señor and Santa Clara) on canvas and framed by ovals with silver rings; the upper end is decorated, in the frieze and top of the tympanum, with silver ovals with colored agates, and topped by pinnacles with bronze balls. Isabel Mateo has analyzed both elements: the table was painted by Luis de Morales, nicknamed "the Divine" (Badajoz, h. 1510-1586), and places it in the last stage of the painter, created for private devotion. In his analysis he highlights the similarities with other works of the painter: "Virgin with the Child and the Holy Juanes" of the parish church of Valencia de Alcántara (Cáceres) dated between 1550-1560; the “Virgins with hats” from the Abelló Collection and the Prado Museum in Madrid; etc. Furthermore, he refers to the flamenco iconographic influences and Rafael's models in Morales' work, among others. As for the reliquary, added later to the completion of the painting, it relates it to El Escorial and Felipe II...

A rare silver reliquary arm with relic bone, with the coat-of-arms of Cosme Roger (1671-1710), bishop of Lombez, France, with original bone relic Poss...

The antique unframed oil painting on canvas is in the Renaissance style. Two ladies are conversing with the man on the right. Canvas is stretched...

Charming collection of 4 vintage European bronze, brass and marble pharmacy and herbalist mortars ranging in age from the 17th-20th century. Each shows evidence of working use. Rangi...

This extraordinary cabinet is made of the finest oak in the tradition of the Dutch Renaissance during the “Dutch golden age” This cabinet is made in ...

This solid oak carved chest was made in circa 1720 and originated in the Netherlands. It is made in Rebaissance style and it has the typical elevated panels in the front section. T...

A dwarf cassone with hinged top with chip carved edge over a paneled case with central keyhole, arcaded carved base.

17th-18th century French Renaissance fireback with the arms of Leopold I, Duke of Lorraine. The arms are surrounded by a chain of the Golden Fleece. The symbol of this order is a sma...

Beautiful and authentic Dutch Renaissance table made in solid oak. It has a three plank top with a nice distressed appearance. It stands on four baluster shaped legs, so called 'bol...