Renaissance Furniture

A Pair of Male Lions in carved marble resting on octagonal attached slab bases. Originally purchased in London and having incredible classic form. One of the Lions rests with his hea...

Copy of a portrait painting titled "Mona Lisa"

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...

Impressive Italian antique capodimonte porcelain lamp. Hand made and hand painted with dancing cherubs and gold leaf design. 22" ...

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

From Niagara Furniture a Vintage Councill 2 Part Breakfront in excellent, ready to use in your home, condition. Simple yet sophisticated this beautiful Councill Mahogany Vintage Bre...

Original lock and key This piece of furniture shows no recess on its upper part. It opens with four folding-doors and two drawers within the belt. The key bears the date 1524 above cross motifs. Burgundy and Lyon regions subordinated themselves to architecture in a different manner than the other french schools. Rather than using particularly columns and pediments pieces of furniture from Lyon borrow architecture’s organization principles and rigorous designs. On the upper body a strong feeling of balance and symmetry appears with the folding doors reliefs. Swags of flowers and fruits held with knot cloth centered by a man seating on his arms. Here profiles, masks and chou de Bourgogne mingle with the structuring scrolls. The two lateral terms wear draperies and the goddess Diana in the center wears a belt of fruits similar to Hugue Sambin’s designs (Termes de Diane et de Venus, 1554, BNF). The two palm-leaves enriched drawers and the alternating scrolls belt balance the weight of the cornice with its alternatings consoles and tops. The lower body is also adorned by three terms with a feminine one in the center, all three are wearing fruits on their heads. The folding doors are centered upon a motif of cut cuirs by a mask in high relief. Wearing a feathered tiara...

Beautiful pair of Spanish Renaissance Revival Savonarola chairs, crafted in solid wood and richly carved with scrolling vegetal motifs. The iconic X-frame silhouette, inspired by med...

This is a delightful classic Venetian mirror with a frame made of crystal rods and curls. The engravings that adorn this luxurious mirror are entirely hand-crafted, and the finishes ...

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 restored nineteenth century Neo-Renaissance carved chestnut credenza is an extraordinary piece of European case furniture that features remarkably deep hand-carved high relief s...

Antique Renaissance Style Carved Chestnut Cabinet An antique Renaissance cabinet with rich carvings is a monumental work of art and crafts...

Wall fountain made of hand-chiseled, antique-patinated natural stone with a large rectangular basin. The simple back panel with subtly profiled side elements and a central spout comb...

Stunning antique Spanish Renaissance walnut bench, called "escaño" in Spain, believed to date back to the early 20th century. The piece has a deep reliefs hand-carved back that featu...

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...

ORIGIN : ITALY, TUSCANY PERIOD : 16th CENTURY DIMENSIONS : Height : 73 cm Length : 180 cm Depth: 57 cm Good condition Walnut wood This significant Florentine cassone in the shape of a sarcophagus features a beautiful front panel flanked at the corners by two mascarons surrounded by voluted acanthus leaves. It rests on two lion's paw feet at the front. The decoration includes a beautiful frieze of scales at the bottom, which continues on the sides. Above this, in the center, a scrollwork cartouche once bore coats of arms. On either side, there is an abundant vegetal decor with vine branches and sumptuous grape clusters. The domed top lid is adorned around its edge with a wide frieze featuring a scale motif, harmoniously matching the lower cornice. This beautiful cassone is interesting for several reasons. The choice of ornamentation is not random. Grapes have numerous meanings and are often associated with fertility, especially when represented on a wedding cassone...

A fantastic gray and white limestone table, the richly carved legs are after table supports found during excavations of Pompeii in the mid- to late-1800s (from Casa di Cornelio Rufo)...

An exceptionally rare and richly ornamented antique silk embroidered textile, likely of Italian origin, dating to the late 17th to early 18th century, originally created for ecclesia...

Classic rectangular Venetian mirror, made in the strictest Murano tradition with rich bands carefully engraved by hand. All assembled with golden crystal elements handmade in the Mur...

Wall fountain made of hand-chiseled, antique-patinated natural stone with a large rectangular basin. The curved back panel with subtle volutes and strong top molding gives the founta...

Impressive antique 19th century Italian Renaissance sideboard set of two. Made entirely of carved walnut wood. The carving work is specta...

2 Italian Venetian Murano (modern) octagonal shaped wall mirror with a frame composed of 3 narrow panels of reverse etched floral design beveled glass (PRICED EACH)

A Country Estate Revolving Bookcase from Niagara Furniture with full grain leather top with a shaped molding surround, over top three dovetailed drawers and numerous supported storag...

An antique Italian pair of Corinthian Capitals from the Renaissance period, hand carved in limestone. Minor fading, scratches due to age. Wear consistent with age and use. Circa 1600...

Renaissance cabinet from Burgundy Or Lyon Region Origin : Burgundy Or Lyon, France Period : Second Half 16th Century, C. 1580 Height : 209cm Length : 184cm Depth : 71cm Good condition Walnut wood, original keys and keyholes Around the middle of the 16th century the conception and ornamentation of French furniture evolves. The start of major building projects, such as the castle of Fontainebleau, gives artists a new impulse. Inventive and rich formulas are developed there, before spreading to all of Europe thanks to engravings and printed leaflets. Furthermore, Italian artists working on such construction sites bring French artists and patrons a renewed taste for the Antique. Regarding the art of furnitures, the most complex scenes and figures are drawn from illustrated books, ornament and emblem compendiums and engraving compilations. Rather than copying those images the artisans feed their inspiration and decline the motifs in numerous variations. The ornamental grammar marks a return to the Antique : palm leaf, acanthus, egg-and-dart, greek, scroll, fluted pilaster… It is in Primaticcio’s and Il Rosso’s stuccos made around 1540-1550 that we have to look for the origin of leather cut-outs, masks, chimaeras, harpies, sheathed figures, fruit and flower garlands that soon enrich every pieces of French furniture. The structure of the pieces of furniture also evolve thanks to the re discovery of Antique architectures, rigorously used as a model. This cabinet presents an imposing structure and a rich and original decor exemplifying the production of the late 16th century, infused with Italian, Antique and Fontainebleau influences. It stands on a moulded base ornate with palm leaves. It opens with four door-leaves and two drawers in the belt. Six whimsical terms divide the facade. The lower body is horizontally divided by three sheathed female terms. The two standing on the lateral posts are topped with fruits while the body is covered by acanthus leaves carved with precision, belted at the waist. The term standing on the central door-jamb is crowned with laurel leaves and is draped in the Antique fashion. A wincing mask hides the key hole. The two door-leaves are centred by a beautiful mask carved in a strong relief. They wear stylised feathered headdress and are set on draperies. Straps, leather scrolls, acanthus leaves and a shell are spread around the masks. The recessed panels are secured in frames ornate with acanthus leaves. The belt is flanked by two large mouldings enriched with variations of acanthus leaves. The drawers are carved with choux bourguignons and palm leaf motifs minutely executed. The consoles between each drawer bear tormented wincing masks, showing horns as if they were fauns or imps. The upper body is framed by two male terms characterised by a strong and nervous musculature, their manhood hidden by drapes secured thanks to a winged lion head. The term on the left appears to be younger and is wincing while the one on the right has a beard. The central female term brings contrast with her youth and sensuality. As it is the case on the lower body, the key hole is hidden behind the mouth of a faun’s mask placed on the drapes barely covering the intimacy of the caryatid. The panels of the upper body present an idealised architecture comprising pilasters and sinuous broken pediments. The pilasters are flanked by two satyrs with goat legs. In the centre appears an important lion mask. The terms of the upper body support the cornice. The entablature carries palm leaves and roses alternating as well as an egg-and-dart frieze. The cornice is adorned with acanthus motifs. On the sides, the carving is executed flat. A central rose is surrounded by scrolls, flowers and choux bourguignons. We can admire the variety of the elements employed. The artist vary with great genius many different ornamental motifs : palm leaf, egg-and-dart, laurel leaf, roses, scrolls … But the artist went even further as each profile and each face is individualised and presents different features. You can take a look at the faces of the satyrs flanking the upper body’s panels. The talent of the artist is undeniable. It makes no doubt the patron who commissioned this cabinet was an aesthete looking for the greatest quality. The artist who authored this cabinet had a great mastery of composition both in the general design and in the individual panels. They probably drew inspiration from engravings and drawings made especially for the making of this piece of furniture or not. They seem to be familiar with the style of Jacques Androuet du Cerceau. Indeed, we can find in Du Cerceau’s engravings the same juxtapositions of leather cut-outs, masks and fruits. The terms and caryatids used on the facade could very well be inspired by his work as well. The cabinet-maker was also undoubtedly observant of Hugues Sambin, the most famous cabinet-maker and sculptor in the Burgundy of the time. Like Du Cerceau, Sambin left an important ensemble of models particularly useful for the design of cabinets. His publication De l’Oeuvre de la diversité des termes dont on use en architecture (1572) was an essential book for every artisan. All the motifs testify of the artisan’s high knowledge of forms as well as the precision of their tools : super imposition of ornamental elements, foliages, architectural cut-outs, flat and high reliefs alternating, palm leaves inscribed in circular spaces, wincing faces. It is also a testimony of the artisan’s familiarity with Italian and Fontainebleau productions. Because of the proficiency of the cabinet-maker in so many different models, this cabinet truly is a master-piece authored by the hand of an authentic master. The generous carvings executed with great rigour and virtuosity evoke an origin close to Burgundy and Lyon workshops. This cabinet was made by a master of the region during the Second French Renaissance. Literature BOCCADOR Jacqueline, Le mobilier français du Moyen-Âge à la Renaissance, Édition d’art Morelle Mayot, 1996 BOS Agnès (dir.), Mobilier du Moyen âge et de la Renaissance, La collection du musée du Louvre, Louvre éditions...

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...

Antique (late 19th to early 20th century) patinated bronze sculptures of Mercury and Fortuna after the original models by Giambologna (1529-1608), aka Giovanni da Bologna (Italian) a...

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...

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

Wall fountain made of hand-chiseled, antique-patinated natural stone with a simple back panel and rolled top edge. The semi-circular, solid basin offers a harmonious shape and high s...

An incredibly unique find on a hill top Villa in Turin, this cabinet has resided in the same home since its creation and hence is in remarkably good condition. The drawings and pain...

The dramatic large, almost 4 foot tall etching is framed with a green ground and gold double border with cream French matting. Copper-plate engraving by Italian artist Giovanni Piran...

Renaissance-style walnut dining table with a cross-braced top. Each extension leaf measures 49 cm. Stains on the tabletop (repairs available in our for €150). Additional infor...

This fine oak chest was crafted in England around 1700 and stands as a beautiful example of the solid yet stylish furniture of the period. The front is richly decorated with geometri...

Vintage French Renaissance L.F. Moreau Cast Spelter Metal Boy and Girl Figural Table Lamp in White, Gold, and Blue. Circa Early 20th Century. Measurements: 45.5" H (to finial) x 35.5...

The Netherlands Haarlem 1610 – 1630 A nice panel of four so-called Haarlemmer (city) ornament tiles, in Italian style, with less-is-more decoration. The decoration is influenced by ...

A very fine and Large Italian 18th-19th century oval-shaped oil on canvas titled "The Triumph of Venice" After the original work by the master Paolo Veronese (Venice, 1528-1588). The original of this painting hangs in the Palazzo Ducale, Venice. The 'Ricci' coloration suggests a late 17th-early 18th century date. In 1715 Charles de la Fosse advised Ricci to paint only "Veroneses and no more Riccis", Venice, circa 1800. Measures: Height: 45 1/4 inches (115 cm). Width: 29 inches (73.7 cm). Frame height: 58 1/4 inches (147.9 cm). Frame width: 43 1/4 inches (109.9 cm). Frame depth: 5 1/4 (13.3 cm). Provenance: Royal Academy of Scotland. Paolo Veronese (Born 1528, Verona, Republic of Venice - died April 9, 1588, Venice) was an Italian painter of the Renaissance in Venice, famous for paintings such as The Wedding at...

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...

Italian Renaissance style (19th Cent) carved wood crucifix on square base with figure

This Mahogany Two Door Bookcase from Niagara Furniture can be used to display your most valued collectables. This bookcase is a perfect size to fit i...

A Renaissance inspired four-panel gilded screen with Roman arches. Transform your living space into a haven of historical artistry with this four-panel folding screen, an exquisite h...

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 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...

On offer here is a stunning table meticulously crafted from the finest European summer oak in the Netherlands around 1900. This exquisite piece embodies the defining traits of a typi...

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 very pretty Italian mid century religious triptych depicting Raphael’s Madonna of the Chair. Label on the back. Made in Italy, Florence. Measurements: Closed 12cm. Open 24cm Heigh...

This 19th-century French Henri II Renaissance Revival carved walnut buffet is an exceptional statement piece featuring masterfully sculpted mythological figures and chimera supports....

Italy / 17th century / chest of drawers / oak, bronze / Renaissance A distinguished 17th-century Italian Renaissance chest of drawers...

This beautiful carved Renaissance front section was a part of a built in cabinet. The carvings are typical for Bretagne area in France and it can be ...

Crafted from an authentic 16th Century Brussels tapestry, this extraordinary lumbar pillow represents over four centuries of European textile artistry. Woven by Flemish master weaver...

An Amazing Pair of A Pair of Continental Gilt-Metal-Mounted Variegated Grey, Dark Grey and Green Marble Fluted Corinthian Columns, Pedestal Late 19th Century. Etched bronze, Brass in...

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...

Elevate a wine cellar, library, or entertaining space with this exceptional antique dry bar, crafted in France circa 1820. Executed in the Renaissance Revival taste, the substantial ...

Impressive Hand-Tinted Albumen Mammoth Plate Print of Basilica San Marco in Venice, circa 1880. Attributed to Paolo Salviati (1818-1894). Possibly the largest photographic image ...

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

This is a hand-painted large ceramic Tuscan urn in the Italian Renaissance style, having a Medici crest on the front with beautiful, rich Tuscan traditional patterns throughout repre...

Early Arabe / Mudejar style tile with geometric decoration, made late 15th century.

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...

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...

Italian Renaissance style (17th Century elements) oak refectory table with carved apron an bulbous shaped legs with a stretcher at base (plank top 19/20th Century). Condition: Good;...