Renaissance Furniture

Falcon Le nostre K-OVER, sono delle alternative al secchiello champagne ed alle” glacette” . Il metallo prezioso che custodisce la bottiglia è rivestito internamente di un tessuto t...

Questa cover per bottiglia di champagne è una vera opera d’arte. L’artista cresciuto a Firenze, ha voluto sintetizzare la cultura orafa rinascimentale che sin da piccolo ha appreso n...

Serpent and Roses, is a work that is part of K-OVER's Works of Art line The author is master goldsmith Lorenzo Foglia. The design is fictional; the artist was inspired by the temptin...

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...

Late 19th century Italian screen with a gorgeous oil painting of floral scene. The oil paint colors are vibrant and in good condition. The frame is made of canvas over a wooden frame...

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 large 16th century Venetian cedar. wood Cassone is an exquisite example of the craftsmanship characteristic of the Italian Renaissance period, featuring beautifully detailed scenes dating to circa 1550-1580. Made from cedar wood, the chest has a deep, rich patina. Cedar wood was prized during the Renaissance for its durability and resistance to decay, making it an ideal choice for fine furniture intended to last for generations. In Renaissance Venice, cassoni were a standard part of a bride's dowry among the nobility and wealthy merchant classes. Venice was a thriving trade hub with a population of about 150,000 in the mid-16th century, and the upper classes commissioned these chests . The decoration of the chest is particularly breathtaking. Its surface features intricate figural panels that depict various scenes, which include historical, mythological, and symbolic representations. Among these are 16th century knights, chariots, mythical beasts, and lions. The designs are expertly silhouetted against a recessed ground, giving a three-dimensional quality that enhances their visual impact. The use of punch-work, a decorative technique involving the stamping of the wood with a mesh-like pattern, adds texture and depth to the surfaces. This technique is indicative of the meticulous attention to detail for which artisans in Italy were known during this period. Overall, this Venetian Cassone...

Glorious Icon on Oak board dating to the 18th century and depicting the Resurrection of Christ, this Icon was originally from Mount Athos a mountain on th...

20th century fine Renaissance carved and gilded walnut pier mirror frame and console table with beautiful original patina Mirror measurements: Width 45.66in Height 57.87in Dept...

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...

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...

From Niagara Furniture a vintage Councill Sideboard in excellent, condition with the top have recently been French polished to give it a straight from the showroom look. Simple yet ...

16th Century Oil Painting on board of the Holy Roman Emperor III by circle or school of Hans Burgkmair the older (1473 - 1531). Portrait of the Holy Roman Emperor Frederic III. (1415 – 1493). Oil on wooden panel. Described top right. In later attractive European gilt frame with black & gilt inner decoration, circa 18th Century. Hans Burgkmair was a German woodcut...

Renaissance style armchair from the Catalan region of Spain. Constructed from richly stained oak and leather, accented with wonderful nailheads.

Gothic Renaissance Revival Carved Walnut Dragon Griffin Sideboard Buffet Cabinet. Item features two-part construction with ornate carvings throughout including dragons/griffins and f...

Italian Renaissance style still life of fruit with gold serving pieces displayed in front of a green drape in a gilt carved frame Condition: Good; Wear consistent with age and use

Formerly known as the "Master of Magione", Nero Alberti da Sansepolcro established a workshop around Perugia in the mid 16th century specializing in the production of devotional imag...

Impressive pair of 19th Century Italian three drawer chests or commodes handcrafted in hardwoods on a bow front bombay form paint decorated in a renaissance style with decoupage figu...

Copy of a portrait painting titled "Mona Lisa"

Walnut with verde antico marble inlay, with two wholly carved draped female allegorical figures within arched recesses, and a bas-relief on the central door. Rich and heavily carved...

Measuring over 7.5 feet long, this handsome Italian library table could function as a console or large desk. Originally hand-carved from walnut, the table has some elements that are ...

From Niagara Furniture a Vintage Williams Kimp Sideboard in excellent condition, with the top have recently been French polished to give it a straight from the showroom look. Simple...

A high quality Small Mahogany Banded Console table from Niagara Furniture which makes elaborate use of hand cut inlays. The mahogany top is banded with satinwood, the four legs at th...

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...

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...

Renaissance style chest, France, circa 1870. Very good condition. Wood: walnut dimensions height 190 cm width 145 cm depth 55 cm

A high quality, Round Mahogany Table with Reeded Edge produced by Niagara Furniture. Beautifully shaped and banded top surrounded by sapele veneers, the entire table supported by thr...

This is an alabaster and marble bust of Saint Clare of Assisi. It depicts a young lady head/face covered with a cloak. She is looking down, very peacefully...

From Niagara Furniture a vintage Hickory Chair Sideboard in excellent condition with the topd having been recently French Polished to give it ...

Italian Renaissance style rass filigree religious book stand with Star of David and 7 candleholders (19th Cent.)

Coppia di Medaglioni in Legno Intagliato, tondi scolpiti con Profili di Cavalieri, Guerrieri con elmo piumato, puntali e visiera alzata. Di forma circolare, entrambi i bassorilievi o...

An Italian Florentine Renaissance Carved Burl Walnut Fall-Front Writing Cabinet, Circa 1560, 16th century From the Davanzatti Palace Museum in Florence Height: 59 inches x 36 inches ...

A beautiful pair of tapestry fragments, hand-woven in Brussels during the 1500s. At roughly 99 inches (over 8 feet) long, the fragments were, originally, vertical borders to a large ...

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...

An elegant Mahogany Writing Table Green Leather by Niagara Furniture which is a perfect fit for use either at home or in the offic...

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...

Large Antique Silver on Bronze Conquistador Figural Table Lamp

This Large Drum Table from Niagara Furniture was inspired by large rent tables used in England in the 18th Century to help organize large estates. This for...

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...

The antique wrought iron bracket is decorated with curls and a spear-like tip. Holes on the side bar can be used to secure to the side of...

Antique Italian Marble Pedestal A serpentine marble pedestal stand produced around 1880 with carved fish and foliate, age related wear with a few chips and losses as to be expected ...

The Large Chippendale Bench is a high quality, solid mahogany large Chippendale style bench with upholstered drop in seat, shell carved knees on cabr...

17th C. Italian Tuscan Walnut Cabinet, original lock & key, original back (very good antique condition, never touched) H: 73.5 D: 22.5 W: 80.75 ...

Rare and important Italian white marble bust sculpture of Jesus Christ, C. 1850. A truly exceptionally carved marble relief of Holy Jesus Christ. ...

A most useful and decorative item, the Mahogany Valet as produced by Niagara Furniture. Using select solid mahogany and mahogany veneers our artisans produce this item using great qu...

White Carrara marble wall fountain with projecting lion face. ▪ Made in Italy dimensions 51 h x 43 x 24 cm weight 26 kg italian manufacturing certified by the Lazio region The sculp...

This late nineteenth century French Henri II style walnut buffet deux corps features a hand carved cherub with wings at the crown. With solid paneled...

This high end Leather Swan Arm Chair from Niagara Furniture is impressive with solid mahogany hand carved details as well as the full grain genuine leather upholstery. A great designer look with a solid and comfortable frame. Inspired by an antique chair...

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...

Devotional plaque with Saint Jerome. Bronze. Spanish school, 16th century. Rectangular devotional plaque made of bronze, with a frame and a ring at the top and a figurative decorati...

This Mahogany Secretary Desk from Niagara Furniture has all the outstanding qualities of an antique original. Made of select mahogany solids and maho...

Antique French Renaissance deeply carved walnut court cupboard with gallery, scroll, gadroon, pyramidal, foliate and nut decoration, 19th century Measures: 87" H x 56.25" W x 22" D....

An Oval Cocktail Table of the highest quality, produced by Niagara Furniture. Satinwood banding surrounds a field of pie shaped, figured mahogany ...

The Mahogany Secretary Desk from Niagara Furniture. This reproduction slant front writing desk has all the outstanding qualities of an antique origina...

Antique Renaissance Revival Carved Winged Maiden Walnut Mirror Top Small Side Table. Item featured mirrored top appears to be a replacement and is not original, very nice antique tab...

A wonderful 16th century draped female torso in classical style. Made in France under Italian Renaissance influence this female torso is finely sculpted with great detail to the stol...

PAIR OF PORTUGUESE COLUMNS 17th Century in chestnut wood with carvings, decorated with plant motifs, putties. Small flaws, traces of treated woodpeckers. Dim.: 141 x 22 cm. very go...

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...

Beautiful richly colored and detailed woven tapestry which is a reproduction of a 14th century French tapestry of period dressed figures picking grapes at...

Flemish school of the 16th century Allegory of Africa
After The Allegories of the Continents by Maerten de Vos (engraving by Adriaen Collaert)
 Oil on copper
 Inscription: "Giulio Ro...

BEAUTIFULL 19th Century PORTUGUESE TABLE in carved and hollowed out walnut wood. Curved legs carved with scrolls decorated with female ...