Renaissance Furniture

The antique solid brass floor lamp originally an alter candlestick in the Renaissance style that has been converted to a floor lamp. L...

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...

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)...

Beautiful and authentic Dutch Renaissance table made in solid European Summer oak. The top was made in three wide boards of oak and has a fantastic grain pattern and a weathered surf...

An elegant pair of 19th-century walnut escabellis with Sorrento marquetry. The backrest is decorated with a putto holding a quiver, standing on a pedestal made of cornucopias and br...

English Renaissance-style (20th Century) pewter pitcher with scalloped and fluted design.

Precious Venetian mirror made in the strictest Murano tradition. Finely hand-engraved on the corner elements, it is assembled with numerous floral elements in crystal and pink handma...

Great image after Domenichino Fine steel engraving Published by Jones circa 1850 Unframed. Minor tear top edge ( 0.5 inches ) Free shipping

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

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...

2 Italian Venetian Murano (modern) wall mirrors with nine rectangular panels and etched floral and scroll design border with gold applied glass flowers and spindle trim. (PRICED EACH)

Contemporary Renaissance Gothic Style Large Figural Lion Carved Wood Paw Feet Throne Chair. Circa Late 20th Century. Measurements: 66.5" H x 36" W x 35" D x 21" Seat height x 29" Arm...

Lovely limed oak plate or dish. English 1920s. The piece has been recently limed to enhance the beautiful grain in the oak.

Antique Italian Tuscan Renaissance refectory style handcrafted oak farm table. Nice small functional table for kitchen or home office handcrafted i...

2 Similar Italian Renaissance style (17th Cent) walnut curved 3 legged sgabelli with carved back and seat (PRICED EACH)

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

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 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...

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

Exceptionally fine 18th century Italian silk and silver metallic thread lampas brocade panel with nicely aged color. Red silk backing w/ attached strip of fabric for a hanging rod. ...

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...

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...

English Renaissance-style pewter tankard (measure).

1. Border inscription: transcription, archaic spelling, and meaning Diplomatic reading (as engraved, according to your magnified observation and detail photographs): VEI IVOA · ELA...

This remarkable antique carved cabinet is a striking example of Renaissance Revival craftsmanship, showcasing exceptional hand-carved details an...

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 ...

A substantial Sicilian pilgrim flask, attributed to Caltagirone and dated to the seventeenth century, fashioned in tin-glazed earthenware with hand-painted cobalt-blue decoration. It...

A rare and sculptural Renaissance console table from 16th‑century Tuscany, carved in richly patinated wood and displaying the architectural strength and ornamentation characteristic ...

19th century French Carved Oak Dolphin Library Table Petite Desk Renaissance. Direct from France, an elegant, and petite, antique French carved sofa...

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 1800s. 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...

Large sized 10 x 13 ft Renaissance Aubusson Savonnerie style European hand knotted Area rug This large hand knotted wool rug sho...

Rare early 16th century Mudejar tile of the so-called ‘Aristo’ or 'cuerda secca' technique Geometric design with a central intertwining cords. Very ornate decoration. This type of...

Exterior Dimension 20” diameter 14.5”H Interior Dimensions 15” diameter 6” H This item is a Renaissance style stone and weathered garden planter, often referred to as a garden ur...

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...

Copy of a portrait painting titled "Mona Lisa"

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...

17th Century pair of Abruzzo Maiolica Albarelli lamps. Converted from a very fine and rare pair of waisted cylindrical form Italian maiolica albarelli from the Abruzzo region, decor...

Please message us with your zip code to request a more reasonable domestic U.S. shipping quote. Antique Jacobean Renaissance Turn Carved Walnut 45" Tall Pedestal Plant Stands - a Pa...

This rare and rich decorated Renaissance dresser was made during the Dutch Golden age in the southern part of the Netherlands currently Belgium. It was made around 1670 and most likely in Antwerp. The dresser was made in the finest quality watered European oak and decorated geometric-shaped walnut veneer panels. The cabinet has two wide doors and two drawers above. The drawers are flanked by carved lion heads with brass rings. The right drawer is equipped with an authentic working lock and key. The doors are decorated with geometrical star-like walnut inlaid raised panels. The doors are flanked by large twisted Solomonic columns decorated with brass nails. The righthand door features its authentic lock and key with a brass ajour cut keyplate. The dresser has a wax finish with a great patina built up over 350 years. This piece of furniture was made by highly skilled craftsmen by the use of the best materials available. It is among the best furniture that was produced during the golden age and even now its craftsmanship is unprecedented. The dresser is highly original and in perfect shape for a piece of furniture over 350 years old. It was gently cleaned in our atelier and a new protective wax coat was applied. The Dutch golden age the 17th century was an important century for the Netherlands. The region separated from the Spanish Empire and formed its republic. Dutch merchants...

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...

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)

Capturing the timeless grandeur of Renaissance artistry, this vintage Italian sculpture is a finely detailed reproduction of Michelangelo’s iconic "David." Masterfully carved from fi...

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...

Created from a genuine Brussels tapestry fragment dating to the late 16th century, this pillow showcases the bold botanical aesthetic that defined Flemish Verdure tapestries during t...

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

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...

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...

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...

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

This elegant single-door cabinet was made in the Southern part of the Netherlands in the late 17th century. It was made in the best quality quarter-sawn oak in the tradition of the Dutch Renaissance during the “Dutch golden age”. The piece is of exceptional quality and was made completely in watered oak...

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...

Wonderful image after Daniele Crespi Fine Steel engraving. Published by Blackie C.1850 Unframed.

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...

Beautiful Italian golden brass towel rack or quilt stand with decorated top and base. A great piece that perfectly adds to every home decor the typical glitz, glamour, and gold of Ho...

An incredible pair of Savonarola chairs from Italy circa 1890's. They feature heavy solid wood construction with great hand painted detailing. Upholstery was redone some years back, ...

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...

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

Our largest production dining table this 21 Foot Dining Table is a high-quality item can fill almost any space. At an overall length of twenty-one feet when fully extended this table...

This is an alabaster group sculpture of the Cretan princess and daughter of the king Minos of Crete, Ariadne seated over her panther. Her left elbow is over the head of the panther a...

This is a patinated bronze large round Tazza urn with pedestal. There is a mask of Bacchus with hair made of grapes leaves and ram horns over his head adorni...