Renaissance Furniture

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...

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...

Belgium / 17th Century / Cabinet / oak / Renaissance A rare and stately example of Flemish Renaissance craftsmanship, this 17th-century oak cabinet from Belgium exudes architectura...

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...

Created with excellent craftsmanship and solid construction in Europe during the late-19th century, this oak dining table is adorned with an array of extraordinary carvings. Four fie...

This pair of mid nineteenth century French Henri II style hand carved beechwood side chairs features gold detailed lion heads at the top of the seat backs. Additional gold detailed a...

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...

Robert Haviland & C. Parlon Limoges France Decorative Plate 1974 Limited Ed. Limited Edition collectible plate "The Lady and the Unicorn" by Robert Haviland & Co and Limoges France. Haviland Limoges France Limited Edition Porcelain Collector Plate "La Dame a La Licorne". La Chasse a La Licorne Limoges Haviland C. Parlon Collectible Plate. 1970s French Limoges limited edition and 22-karat gold collectors plate by Haviland & Parlon. This coveted and rare collector plate display a scene from the famous late fifteenth century Renaissance Paris French tapestries of unicorn hunting scene ," La Chasse A La Licorne". The plate is hand painted with an incredible amount of detail, bright and bold colors with a 22-karat gold rim. Made of porcelain with a glossy finish, this round plate features a stunning multicolor fairy tale design with a unicorn theme. The plate is handmade and painted, and is part of the Limoge product line series. This vintage Haviland Limoges La Chasse a la Licorne Unicorn Plate...

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...

Condition: Original Vintage Condition Style: Italian Renaissance This exquisite Italian Renaissance–style carved mahogany desk showcases the dramatic craftsmanship and sculptural detail that defined the finest early 20th-century revival furniture. Its deeply carved scrollwork, acanthus motifs, and architectural pedestal bases highlight the artistry associated with Italian design traditions of the 1920s. Constructed from solid mahogany, the piece carries a strong presence, beautifully aged with warm patina throughout. The desk retains its original vintage condition, offering an authentic representation of its era while remaining structurally sound and visually striking. Sold originally through Bullock’s in Los Angeles—one of California’s most prestigious luxury retailers—it reflects the store’s reputation for offering European-inspired furnishings to complement the region’s Mediterranean and Spanish Revival homes. Fun Historical Fact: Bullock’s Los Angeles was famous in the early 20th century for importing and commissioning Italian and Spanish Revival furniture...

This rare Venetian frame entirely carved in high-relief shows a rich decor of scrolls, garlands, daisy flowers and thistles. At the four corners of the frame are depicted large acant...

Antique Italian Renaissance Figural Bird & Lion Carved Walnut Throne Arm Chair. Item features a high back, solid carved walnut frame with bird crest, pierce carved acanthus leaves th...

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...

This antique oak chest, dating from the early 17th century, is a remarkable example of early European craftsmanship, combining strength with refined decorative detail. Made entirely ...

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

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

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

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 ...

An elegant Italian terracotta sculpture of a classical youth, circa 1900. Finely modeled and beautifully proportioned, the figure stands in a graceful contrapposto pose, his gaze low...

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 ...

French fireback in Renaissance style with a coat of arms. The fireback is made of cast iron and has a natural brown patina. Upon request it can be made black / pewter. The condition ...

A late 16th Century, refined Italian wall mirror made of hand carved Limewood from an antique villa near Verona, in good condition. The frame is flanked by a pair of intricately carv...

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

10 English Renaissance-style (20th Century) pewter tankards with lid. (PRICED EACH)

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...

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

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

Beautiful Renaissance two-body buffet with four doors and six drawers. On the upper part of the buffet, who hide two secrets drawers, an alternating band of three masks, represents a mythological scene: Zeus changed into a swan seduces Leda on the banks of the Eurotas. The sides of the buffet are decorated with foliage and vines. The doors cornices...

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...

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 ...

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...

A great quality piece of furniture this Vintage Marble Top Center Table will be the focal point of any area in your home. From the beautiful m...

AN EXCEPTIONAL SPANISH COLONIAL VARGUEÑO OR BARGUEÑO, tortoiseshell, ebony, engraved ivory and Colonial hardwood, Spain, 16th / 17th century (cabinet) An exceptional and unusually r...

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 ...

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

A beautiful bankers or merchants table that was made in Switzerland around 1750. The table has a square 1.57 inch thick top made in solid walnut. The planks were joined by steel S-sh...

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...

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...

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

Rare late 15th or early 16th century Mudejar tile of the so-called ‘Arista’ or 'cuerda seca' technique. The central motif is an eight-pointed star, which in turn encloses smaller on...

Italian Renaissance Revival (20th Century) long refectory table with deeply carved columnar end supports featuring female figures and ornate urns, connected by a multi-arching balast...

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)

French Metal Canopy Bed, King Size, with a bronze finish metal canopy frame with a padded upholstered headboard in a neutral linen fabric. The frame with ...

A magnificent Biblical tapestry in wool and silk likely made in the Flemish weaving center of Oudenaarde. With a history of tapestry production dating to 1368, the city created some of the finest tapestries of late Medieval and Renaissance Europe that were widely sought after across the continent. The 16th century...

The Niagara Furniture Leather Fireside Chair is designed after an American original antique chair and ships out covered in full grained tufted genuine l...

2 Italian Murano rectangular wall mirrors with cut out top corners and a frame composed of 3 narrow panels of etched floral & scroll design beveled glass (PRICED EACH)

An elegant 18th-century red crayon drawing depicting a muscular male arm grasping a staff, executed with fine hatching, subtle shading, and anatomical precision indicative of academi...

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 ...

Rectangular shaped photo frame in gold-plated 925/1000 sterling silver with translucent fired enamel on guilloché with borders in the French Empire Louis XVI style. External dimensio...

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 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 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...

Very rare flemish pottery beer jug or stein…..depicting the Story of Susanna and dated 1584. The original jug has been attributed to Engel Kran…..a ...

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...

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

This Italian tempera painted on gilt wood gold ground panel is a Tuscan religious artwork in the style of late Renaissance - early Gothic period. The sc...

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

Jacques Bergé "King David" - Terracotta or Fired Clay with Polychrome Remnants Dated 1736 14.5" h x 5.5" w x 4.5" d A rare and exceptionally refined terracotta sculpture of *King ...

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 original Venetian mirror is made in the strictest Murano tradition with rich bands carefully engraved by hand. All assembled with crystal and black elements handmade in the Mura...