Renaissance Furniture

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...

Early Arista y Cuenca tile made in Toledo. Azulejo Toledano. Alhambra tile decorated in renaissance mudejar style geometrical design. Probably made between 1550 and 1575. In very g...

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

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...

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...

This is a wonderful pair of antique Renaissance Curule or Savonarola Style Chairs with carved loins heads beneath carved scrolls on the arm posts and a carved crest between the posts...

18th century Italian wall decorative panel frieze with stunning hand-carved gilded relief. The decorative gilt relief motif is very classical, hand-carved with alternating love knots...

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...

Code: FQ58 Period: 19th century Style: Renaissance Dining room of the School of Arts in Monza, 19th century, walnut hand-carved consists of: sideboard showcase with leaded cathedral glass; sideboard with central mirror; console with large mirror; table with 12 chairs lined leather. Measures cm (height, length, depth): sideboard with showcase...

Monumental and important Renaissance Palladio dining room set all in solid hand-carved walnut from a Palladian Palace in Vicenza of a Venetian patrician family. The back of the showcase was rebuilt again at the end of the 800 first 900 with the application of damask fabric The table can be extended up to 4-6 meters The large sideboard and the display cabinet are in the process of conservative restoration and have therefore been disassembled, as seen from the last photos. Measures in cm: Sideboard H 240 x L 315 x D 70 Display cabinet H 240 x L 230 x D 60 Table H 78 L x 230 x D 140 Extendable to 4-6 meters Notes: The architectural design of Andrea Palladio...

Superb 19th century Antique French Dark Oak “Hunt Cabinet”, Bookcase, Vitrine or Display Cabinet! Direct from France, and one of several exquisite glass door bookcase/cabinets from...

An exceptional monumental antique French Renaissance bookcase cabinet In the manner of R.J. Horner & Co. France, Circa 1900 Ornate carved walnut with female busts, faces, and foli...

Vintage Anglo Indian Renaissance Style Ornate Carved Wood Upholstered Rocker Rocking Chair. Circa Mid 20th Century. Measurements: 43" H x " 22.5 W x 37" D x 21 "Seat Height x 29" Arm...

19th century French Carved Oak Dolphin Library table desk Renaissance Gothic. Direct from France, an elegant antique French carved ...

An exceptional and fine hand woven 18th century Italian silk and silver metallic thread lampas brocade panel with beautiful aged original color. Red silk backing w/ attached strip of...

The Olive green silk velvet of Ferronerie design Dating from 15th century. With stylised pomegranate motifs. Renaissance possibly Florence Consisting of two joined panels. The ...

An incredible and rare 15th century French carved limestone fragment depicting the back of a man's head with a wavy hair texture, and mounted on a c...

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

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 ...

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...

A magnificent original hand painted late 18th / early 19th century Italian refectory table. Italy, circa 1800, this one of a kind masterpiece executed in a rare and most impressive...

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 to reveal a gold metallic groun...

Large French Two-tier Gilt-Bronze and Crystal French Chandelier. Chandelier features a gracefully scrolled gilt-bronze frame adorned with an opulent cascade of hand-cut crystal prism...

16th Century Period Renaissance Tuscan Walnut Credenzino Italian 16th/17th century Renaissance walnut small Credenza with a rectangular top above a single drawer centered over a s...

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...

An antique ink stand, made of polished brass, completely in Renaissance style, with richly pieced scroll motifs. The inkwell has two removable ink we...

This Four Poster Bed, sourced from a Chateau in France, is of Renaissance Style Super King Bed with Cabinets is an exquisite piece of antique furniture, handmade from wood with intri...

723 / 5.000 "Portrait of a Lady – Colored Drawing, Renaissance Style, 19th Century" Dimensions: 65 x 46 cm (frame), 52 x 34 cm (view) A delicate 19th-century drawing, created using...

CANOPY BED IN HAMMERED AND GILDED WROUGHT IRON   ORIGIN: SPAIN PERIOD: 16TH CENTURY   Height: 270 cm Length: 152 cm Depth: 240 cm   (Base: H. 206 cm; W. 148 cm)   Hammered and gilded...

A marble wall fountain with dolphin pedestal. The Campana shaped body of the basin is supported by the dauphin grotesque pedestal which is placed on a raised square foot. The fountai...

Renaissance flat lid storage chest and trunk from the 19th century. It can also be used as a coffee table or sideboard Handcrafted by a danish cabinetmaker in the early 19 century w...

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

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...

Oil on canvas. Signed lower right, Hermann Emil Pohle. The painting is a genre piece. A Renaissance style hunting scene. The hunting horn is blown before...

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 rare and very fine bronze corpus of Christ after a model by Michelangelo, cast ca. 1597-1600 by Juan Bautista Franconio and painted in 1600 by Francisco Pacheco in Seville, Spain. The present corpus reproduces a model attributed to Michelangelo. The best known example, lesser in quality, is one on display at the Metropolitan Museum of Art (MET). The association of this corpus with Michelangelo was first brought to light by Manuel Gomez-Moreno (1930-33) who studied the wider circulated casts identified throughout Spain. The attribution to Michelangelo was subsequently followed by John Goldsmith-Phillips (1937) of the MET and again by Michelangelo expert, Charles de Tolnay (1960). While Michelangelo is best known for his monumental works, there are four documented crucifixes he made. The best known example is the large-scale wooden crucifix for the Church of Santa Maria del Santo Spirito in Florence, made in 1492 as a gift for the Prior, Giovanni di Lap Bicchiellini, for allowing him to study the anatomy of corpses at the hospital there. In 1562, Michelangelo wrote two letters to his nephew, Lionardo, indicating his intention to carve a wooden crucifix for him. In 1563 a letter between Lionardo and the Italian sculptor Tiberio Calcagni, mentions this same crucifix (a sketch of a corpus on the verso of a sheet depicting Michelangelo’s designs for St. Peter’s Basillica [Palais des Beaux-Arts in Lille] may reproduce this). That Michelangelo was working on small corpora in the last years of his life is further evidenced by the small (26.5 cm) unfinished wooden crucifix located at the Casa Buonarroti, considered his last known sculptural undertaking. Michelangelo’s contemporary biographer, Giorgio Vasari additionally cites that Michelangelo, in his later years, made a small crucifix for his friend, Menighella, as a gift. Surviving sketches also indicate Michelangelo’s study of this subject throughout his career, most notably during the end of his life but also during the 1530s-40s as he deepened his spiritual roots. The occasional cameo of crucified Christ’s throughout his sketched oeuvre have made it challenging for scholars to link such sketches to any documented commissions of importance. All the while, in consideration that such objects were made as gifts, it is unlikely they should be linked with commissions. Nonetheless, a number of theories concerning Michelangelo’s sketches of Christ crucified have been proposed and some may regard the origin of the present sculpture. It has been suggested that the corpus could have its impetus with Michelangelo’s work on the Medici Chapel, whose exclusive design was given to the master. It is sensible smaller details, like an altar cross, could have fallen under his responsibility (see for example British Museum, Inv. 1859,0625.552). Others have noted the possibility of an unrealized large marble Crucifixion group which never came to fruition but whose marble blocks had been measured according to a sheet at the Casa Buonarroti. A unique suggestion is that Michelangelo could have made the crucifix for Vittoria Colonna, of whom he was exceedingly fond and with whom he exchanged gifts along with mutual spiritual proclivities. In particular, Vittoria had an interest in the life of St. Bridget, whose vision of Christ closely resembles our sculpture, most notably with Christ’s proper-left leg and foot crossed over his right, an iconography that is incredibly scarce for crucifixes. The suggestion could add sense to Benedetto Varchi’s comment that Michelangelo made a sculpted “nude Christ…he gave to the most divine Marchesa of Pescara (Vittoria Colonna).” Of that same period, two sketches can be visually linked to our sculpture. Tolnay relates it to a sketch of a Crucified Christ at the Teylers Museum (Inv. A034) of which Paul Joannides comments on its quality as suggestive of preparations for a sculptural work. Joannides also calls attention to a related drawing attributed to Raffaello da Montelupo copying what is believed to be a lost sketch by Michelangelo. Its relationship with our sculpture is apparent. Montelupo, a pupil of Michelangelo’s, returned to Rome to serve him in 1541, assisting with the continued work on the tomb of Pope Julius II, suggesting again an origin for the corpus ca. 1540. The earliest firm date that can be given to the present corpus is 1574 where it appears as a rather crudely conceived Crucifixion panel, flanked by two mourners in low-relief and integrally cast for use as the bronze tabernacle door to a ciborium now located at the Church of San Lorenzo in Padula. Etched in wax residue on the back of the door is the date, 27 January 1574, indicating the corpus would have at least been available as a model by late 1573. The Padula tabernacle was completed by Michelangelo’s assistant, Jacopo del Duca and likely has its origins with Michelangelo’s uncompleted tabernacle for the Basilica of St. Mary of the Angels in Rome. The impetus for the Padula tabernacle’s Crucifixion panel begins with a series of late Crucifixion sketches by Michelangelo, depicting a scene of Christ crucified and flanked by two mourners (see British Museum Inv. 1895.0915.510; Ashmolean Museum Inv. 1846.89, KP II 343 recto; Windsor Castle RCIN 912761 recto; and Louvre Inv. 700). A faintly traced block possibly intended for sculpting the sketch of the crucified Christ on its recto was discovered by Tolnay on a version of the composition at Windsor Castle. The Windsor sketch and those related to it appear to have served as preparatory designs for what was probably intended to become the Basilica of St. Mary’s tabernacle door. Vasari documents that the project was to be designed by Michelangelo and cast by his assistant, Jacopo del Duca. Michelangelo died before the commission was complete, though on 15 March 1565, Jacopo writes to Michelangelo’s nephew stating, “I have started making the bronze tabernacle, depending on the model of his that was in Rome, already almost half complete.” Various circumstances interrupted the completion of the tabernacle, though its concept is later revitalized by Jacopo during preparations to sell a tabernacle, after Michelangelo’s designs, to Spain for Madrid’s El Escorial almost a decade later. The El Escorial tabernacle likewise encountered problems and was aborted but Jacopo successfully sold it shortly thereafter to the Carthusians of Padula. An etched date, 30 May 1572, along the base of the Padula tabernacle indicates its framework was already cast by then. A 1573 summary of the tabernacle also describes the original format for the door and relief panels, intended to be square in dimension. However, a last minute decision to heighten them was abruptly made during Jacopo’s negotiations to sell the tabernacle to King Phillip II of Spain. Shortly thereafter the commission was aborted. Philippe Malgouyres notes that the Padula tabernacle’s final state is a mixed product of the original design intended for Spain’s El Escorial, recycling various parts that had already been cast and adding new quickly finished elements for its sale to Padula, explaining its unusually discordant quality, particularly as concerns the crudeness of the door and relief panels which were clearly made later (by January 1574). Apart from his own admission in letters to Spain, it is apparent, however, that Jacopo relied upon his deceased master’s designs while hastily realizing the Padula panels. If Michelangelo had already earlier conceived a crucifix model, and Jacopo had access to that model, its logical he could have hastily employed it for incorporation on the door panel to the tabernacle. It is worth noting some modifications he made to the model, extending Christ’s arms further up in order to fit them into the scale of the panel and further lowering his chin to his chest in order to instill physiognomic congruence. A crude panel of the Deposition also follows after Michelangelo’s late sketches and is likewise known by examples thought to be modifications by Jacopo based upon Michelangelo’s initial sculptural conception (see Malgouyres: La Deposition du Christ de Jacopo del Duca, chef-d’oeuvre posthume de Michel-Ange). Jacopo’s appropriation of an original model by Michelangelo for more than one relief on the Padula tabernacle adds further indication that the crucifix was not an object unique to Jacopo’s hand, as few scholars have posited, but rather belongs to Michelangelo’s original...

Wonderful image after Domenichino Fine steel engraving. Published by Sangster, London. circa 1850 Unframed.

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 English Silvered Metal 'Worried Knight' Inkwell Add a touch of classical whimsy to your home or office with our tole figural knight inkwell. Made in later 19th century ...

An antique, late 19th Century Italian wall fountain with a richly decorated backsplash depicting a sun mask and scrolls, set on a heavy basin with lateral shields and supported by an...

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...

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

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...

Mid-Century Florentine Black and Gold Gilded Frame, Italy. Sturdy and beautiful, this frame is ready for a picture and certainly captures that European vibe.Fits 16x20 artwork

Classic octagonal Venetian mirror, made in the most rigorous Murano tradition. Finely hand-engraved on the elements of the bands, it is assembled with numerous floral elements in gol...

'World Chronicle' 1st edition, by Schedel, Nurnberg, 1493 Original woodcut, one page with seven illustrations and Latin text By Hartmann Schedel, originally published: July 12, 1493 Illustrator: Michael...

Set of four Italian walnut Savonarola armchairs ORIGIN : FLORENCE, ITALY PERIOD : LATE 15TH CENTURY - EARLY 16TH CENTURY Measures: height : 102 cm 40.15 inches, height : 93 cm 36.61 inches length : 68 cm 26.77 inches, length : 68 cm 26.77 inches depth : 55 cm 21.65 inches, depth : 50 cm 19.68 inches Walnut Very good condition This movable Italian seat from the late 15th century descents from the roman curule seat. It took the name of sedia Savonarola...

Exceptional polychrome wood low-relief depicting a werewolf and saint george after a woodcut by lucas cranach (“DER WERWOLF” 1512) Provenance : collection Brimo de Laroussihle colle...

18th/19th Century Dutch Painting in Oil on Canvas after Johannes Vermeer Antique painting after the famous motif, “Young Women with a Water Pitcher” by Johannes Vermeer (1632-1675)...

Italian school 17th / 18th century: oil on framed panel, representing The Virgin and Child Jesus, accompanied by Saint Elizabeth and John the Baptist as a child, in the foreground A...

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

A Very Rare Venetian Velvet Cover Cut and uncut voided silk velvet in green on a light gold ground The pattern is a lattice of Leaf motifs, with the diamond shaped openings contain...

This beautiful and friendly-sized cupboard is made of the finest watered oak in the tradition of the Dutch Renaissance during the “Dutch golden age” It is a two-door cabinet over ebo...

This is a Bronze Reliquary Casket. It depicts a rectangular lidded casket/box shaped as a house with a hip roof and its walls are glasses framed wit...

A heavily carved salon table egg and dart carved edge trim, carved apron with arched frieze with masks. The table supported by four detailed figural supports conjoined with an elabor...

Last Supper. Oil on panel. Castilian School, 16th century. It has faults. An oil on panel painting depicting a figurative image against a neutral background, with a checkered tile...

19th century Spanish Renaissance buffet was sculpted from dense, old-growth oak with glorious full relief depictions. Set upon a brilliantly...

A rare carved walnut wardrobe opening with four door-leaves and two drawers in the lower part. The doors bear architectural views in low reliefs, fluted pilasters and Ionic capitals. Upper Body Two door-leaves with carved architectural perspectives open the wardrobe framed by three fluted pilasters with Ionic capitals. Each door-leaf depict two semi-circular arcades whose cornice and base shows a central vanishing point. Likewise the pavement’s lines act for the artisan as a way to create depth. The vaulting instead leads us to think the vanishing point has to be situated where the handle is, between the two complementaries reliefs. The elegant moulded belt hides an internal secret space, accessible through a moveable plank in the upper body. Lower Body Two door-leaves identical to those of the upper body framed by three fluted pilasters with Doric capitals. The base of the wardrobe opens with two large drawers. The sides also bear panels depicting architectural perspectives. The external pilasters share their Ionic capital with the facade’s pilasters. Thus we can observe on the wardrobe’s sides the capital’s lateral parts with the elegant volute specific to the Ionic order. This palace wardrobe is topped by an overlapping cornice standing on three consoles for the facade and two consoles on each sides. Placed right above the pilasters each console are adorned by fully expanded leaves. During the 15th century a major interest for architecture and perspective studies arises and influences patrons tastes. The work of great theorists such as Leon Battista Alberti...

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...

Stunning antique Spanish Renaissance walnut bench, called "escaño" in Spain, believed to date back to the early 19th century. Heavy pieces of solid walnut in back and seat with bevel...