Renaissance Furniture

A remarkable ensemble of six antique wrought iron door locks dating from the late Renaissance through the Baroque period (16th/ 17th century). These large and highly decorative locks...

Venetian mirror made in the strictest Murano tradition with carefully hand-engraved bands. All assembled with golden crystal elements handmade in the Murano furnaces. Wooden frame wi...

Wonderful image of a dentist Fine steel engraving. Published by A.H. Payne C.1850 Unframed.

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

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...

Majolica amphora made and painted by hand, following the original Renaissance painting technique. This sumptuous vase is characterized by the elegant presence of naturalistic ornamen...

Antique Spanish Renaissance Figural Carved Oak Wood 2 Pc Religious Cupboard Cabinet. Item features solid wood two part construction, carving that reads "Anno 1654" to crest, carved f...

Early Arista y Cuenca tile, most likely made in Sevilla. Azulejo tile decorated with a gemetric pattern with 4 central leafs within a cirlce. Mid 16th century In very good conditi...

A pair of Italian Renaissance style cast bronze wall sconces, each with four scrolled arms. Large, heavy ornate sconces, nicely detailed with large scrolls and acanthus leaves. Rewir...

An exceptional and rare 16th century Venetian textile, richly embroidered with 1.2 kilograms of gold metallic thread on deep red silk velvet. This beautifully preserved fabric exempl...

Early Arista y cuenca tiles made in Toledo. Tile decorated in renaissance with stylized flowers, probably made between 1550 and 1575. Also separately available, please reach out t...

Important molded and richly carved walnut sideboard with console-style upper supports formed by chimeras, a central faun motif. Five drawers. Beautiful ornamentation including grimac...

A rare 16th Century Italian stone Corinthian half-capital, carved in Ligurian slate, mounted on a simple wrought iron bracket for wall hanging.

Sterling silver bi-color chessboard and chess game in "Florence" style. The chessboard is in molten silver with red jasper and white color marble The work was engraved with the anc...

Beautiful weathered wooden panel with an wonderful primitive angel figure and garlands. Original paint and gilding. Spain, circa 1550-1650, weathered, small losses and old repairs M...

An Italian Renaissance style walnut Savonarola folding chair from circa 1900 with lion paw feet. This Italian Renaissance style Savonarola chair, dating back to circa 1900, is a sple...

A rare 16th Century Flemish Verdure Feuilles de Choux Tapestry Panel (Oudenaarde or Enghien) Feuilles de Choux (cabbage leaves in French) t...

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...

This Absolutely Magnificent Rare 7-piece bedroom set is a fantastic piece of Artwork, attr. Luigi Frullini. The Bedroom features a Fabulous Heavily Carved Bed, this can be used as ...

A RARE RENAISSANCE WALNUT CABINET WITH ITS FREESTANDING CARVED COLUMNS ORIGIN : FRANCE, BURGUNDY PERIOD : 16th CENTURY Height : 218 cm Length : 152 cm Depth : 67.5 cm Walnut Thi...

Classic oval 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 gold cry...

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...

16th Century Antique Flemish King Solomon Tapestry, Country Of Origin: Belgium, Circa Date: 16th Century. Size: 11 ft 4 in x 12 ft 10 in (3.45 m x 3.91 m)

Italian Renaissance style Set of three gilt icon wall plaque with swirl columns and religious figures.

An outstanding, high quality Long Mahogany Console by Niagara Furniture. The Long Mahogany Console with Brass Gallery also makes elaborate use of inlays, carvings and trim. The mahog...

Wall fountain made of hand-chiseled, antique-patinated natural stone with a curved back panel and central rosette spout. The semi-circular basin and slender design offer elegant prop...

Crafted in Italy circa 1760, this rare walnut “studiolo” cabinet — also known as a Cabinet of Curiosities — represents the height of 18th century craftsmanship, inspired by the Renai...

An impressive dry bar / tv cabinet reclaimed from The Plaza Hotel of NYC in the 1990s. Drawing inspiration from French and Italian styling. A tall case made from mahogany with mirrored beveled hutch doors. This stately piece would have been used within one of the hotel suites. Features an ornately carved crown, chamfered stiles, applied foliate and cabriole legs. Opens via brass acorn hardware...

Handsome oak library piece that can be used as a desk or Work table. Made of oak having carved gadrooned edges. Carved on all sides and five drawers ox bow ends, 19th century. Worka...

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 ...

Wonderful image after Rubens Fine steel engraving. Published C.1850 Unframed.

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...

19th century Italian Renaissance style walnut cardinal's throne chair with shell design canopy and column supports.

PETITE Antique French Octagon Center Side TABLE Side End Renaissance Carved Oak. Direct from France, this SUPER PETITE size octagon table, ornately adorned, just like the full-size ...

Continental Franco/Belgian (17th Century) woven tapestry with military figures titled The Hostage. Antique condition, fading and wear, tears in places

An Italian Renaissance Style Walnut Studiolo Cabinet, 17th Century Description: A renaissance style studiolo of architectural form in walnut, the exterior entablature with risen gal...

Charming pair of hand-painted small cupboards featuring octagonal forms and richly detailed figural panels. Each cabinet is decorated with painted standing figures rendered within ar...

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...

Precious rectangular Venetian mirror, made in the most rigorous Murano tradition. Finely hand-engraved on all elements, it is antiqued by skilled craftsmen. The mirror is assembled w...

We designed and produced this Sheraton Hall Table as a matching item to sell along with our ever popular NSI087 Sheraton style stand. Equally well loved in...

Our most robust drum table this large Round Center Table has eye catching appeal with satin wood banding, carved knees and a thick top with three d...

An unusual small bargueño from Salamanca, made of walnut, with a fall-front that conceals a richly decorated interior. The interior is organized with a central compartment featuring ...

A unique pair of marble obelisks, 19th century Magnificent sculptures, base and obelisk in red French marble, lions in black Belgian marble and Nembro Giallo marble. Spectacular fo...

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...

Rare vintage Sabin Crest-o-Gold warranted 22K teapot. The teapot holds about 36 Oz of liquid, has no cracks or chips.

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...

A Rare and Important Renaissance "Judaica" Carved Oak Wood Cabinet, circa 1680 We are pleased to present a rare and important Renaissance Judaica c...

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...

Precious rectangular Venetian mirror, made in the most rigorous Murano tradition, finely hand-engraved with precious decorations on all side elements. It is assembled with numerous c...

17th century Ebonized case with parcel gilt decoration, iron handles and hinges. Fitted interior with inset tortoiseshell panels surrounded by brass filigree inlaid ebonized wood drawer and door fronts. Faux painted architectural columns on either side of center door which opens to reveal an additional set of small drawers. A rare early cabinet...

Rare late 15th or early 16th century Mudejar tile of the so-called ‘Arista’ technique with intricate geometric decoration. Good condition; some chipping to the edges, some wear to ...

A rare and evocative 16th-century German Executioner’s Sword (Richtschwert), forged in Passau, one of the preeminent centers of Renaissance blade craftsmanship. Passau was renowned f...

Original octagonal Venetian mirror made in the strictest Murano tradition, with rich antique bands carefully engraved by hand. All assembled with crystal / blue elements...

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

Wonderful image after Holbein Fine steel engraving. Published by A.H. Payne C.1850 Unframed.

Saint Radegonde Exorcising a Demon – Burgkmair Circle, c.1516 Woodcut A powerful and visually striking early 16th-century woodcut depicting Saint Radegonde performing an exorcism, t...

The Solid Mahogany Library Chair, also known as a metamorphic chair as created by Niagara Furniture. This style of Solid Mahogany Library Chair was o...

Print of la pianta grande di Roma (The Large Plan of Rome), also known as The Nolli Map by Pietro Campana, Carlo Nolli, and Rocco Pozzi. Framed in a 1.5” wide dark burl wood frame. ...

19th century Italian frame in Renaissance style wood marquetry. 19th century Italian Renaissance style wood marquetry frame. Frame: H: 25.5cm, W: 20cm, D: 1cm Interior view: H: 14,...

A great quality piece of furniture this Vintage Baker Serving Table will be the focal point of any area in your home. From the beautiful inlaid top with elegant brass handles to the ...