Renaissance Furniture

**Magnificent Late 19th-Century Neo-Renaissance Figural Nef, ca. 1880s-1890s** This exquisitely crafted table vessel embodies the grandeur of Renaissance-inspired artistry, reinte...

Elegant, monumental solid oak cabinet from the 19th century. Beautifully detailed and incredibly solid, crafted by a cabinetmaker. The doors feature a beautiful pattern of recessed p...

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...

Classic octagonal 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 gol...

Antique French Renaissance / Henry II style walnut buffet a deux corps / vaisselier / cupboard / cabinet / hutch featuring Neoclassical carved figural / acanthus / floral theme. The...

Meaningful and perfect size, religious work of art. We find it refreshing to see Christ in this original 1913 oil painting as the spiritual master that he was (in a ceremonial act) ...

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...

An exceptional 18th-century French Renaissance cabinet, sourced from the French Alps. Masterfully hand-crafted from solid oak, this two-piece ensemble showcases exquisite and elabora...

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...

An extraordinarily rare and visually striking 16th-century Venetian iron treasure coffer, showcasing the height of Renaissance artistry and engineering. Crafted in the early to mid-1...

Antique Oscar Bach Attributed Figural Bronze Marble Top Telephone Hall Stand with Chair. Item features an ornate figural bronze telephone cabinet stand, marble top, small chair with needlepoint seat...

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...

Beautiful antique Italian solid walnut side table features rectangular top with beveled edges over four beautifully bobbin turned barley twisted legs, connected to one another with c...

Antique Henri II Carved Buffet, Cupboard, Stained Glass, Oak, 96.5"H Antique Cupboard Buffet Cabinet Oak 19th Century Beautifully Carved 5 door cabinet Spindle trim top Top has two s...

This barley twist dining table is shown here in 108" x 40", expanding to 138", however it can be built in any size. Because each table is be...

Italian Renaissance style (19th Cent) gilt framed oil painting of Madonna and child with 3 attendants.

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...

Fine, scarce set of four original chromolithographs of Renaissance designs from Racinet's seminal L'Ornement Polychrome published by Firmin-Didot 1869-1873 and 1885-1887. Architectur...

An extraordinary Renaissance Period walnut small side cabinet with fruitwood inlay detail. Of museum quality, in remarkable original condition (has not been reconstructed in any way)...

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

Italian Renaissance style Jupe extension dining table. A reclaimed oak and chestnut burl restored circular extending dining table, the segmented top opening to reveal six self-storin...

A suite of six porcelain plaques by French artist and illustrator Jean Gradassi (1907-1989) entitled "Vie, Coutumes & Moeurs dans les Châteaux de France 1400 à 1650" (Life, Customs a...

Equally suited for use either at the workplace or in a home office the Niagara Furniture Large Burled Executive Desk with tooled leather top is both decorative and functional. Built ...

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

A fine quality Vintage Chippendale Style Mahogany Desk with a richly restored top and sympathetically restored drawer area. The solid brass p...

Italian Renaissance-style (19/20th Century) rectangular shaped wrought iron low fernery with floral and scroll design.     

Vintage French Renaissance Style Silver Plated Tall Ornate Compote Centerpiece Dish Bowls - a Pair. Item features tall silver plated heavy metal construction, ornate floral and folia...

The Round Tray Top Mahogany Display Table from Niagara Furniture is an exercise in elegance. The sweeping mahogany legs are created by hand and support the table’s finely carved ski...

2nd half of the 19th century, solid hardwood, stained black, rectangular top decorated with bevelled corners , turned legs in baluster form, signs of age and use, some restoration wo...

This vintage Meissen curio cabinet porcelain dates from the late 19th century. The charming beautifully hand painted sculpted cherub is working his grinding wheel sharpening love arr...

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...

Wonderful copper-plate engraving after Jan Luyken Published by Marten Schagen, Amsterdam. 1724 Text on verso The measurement given is the paper size.

Classic shaped Venetian mirror, made in the most rigorous Murano tradition. Finely hand-engraved on all elements, it is assembled with numerous floral elements in multicolored crysta...

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...

This is a wonderful pair of antique Renaissance Curule or Savonarola Style Chairs with carved loins heads beneath carved scrolls on the arm posts and a carved crest between the posts...

On offer here is an Exquisite 17th Century Oak Two-Door Cabinet from the Carmelite Monastery in Bruges, Belgium. This antique piece, crafted in the Southern Netherlands around 1635, ...

Very beautiful trunk from the Renaissance period, very nicely carved with palm leaves and acanthus leaves in an architectural setting. Four Ionic co...

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 ...

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 ...

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...

Pair of Italian (19th Cent) walnut carved winged griffin base pedestals on square base.

18th Century French Renaissance Cabinet with Carrara Marble will make a great addition to any efficient floor plan! Crafted from solid old-growth chestnut, it features a neoclassica...

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

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...

A centuries-old sideboard - chest of drawers with a Renaissance-style extension. Made at the beginning of the 19th century. Furniture - UNIQUE, richly decorated with carvings and rel...

One of the most complicated items that we produce at Niagara furniture our Burled Oval Partners Desk is also one of the most popular. The top section of the desk consists of a three-...

These Renaissance style antique French patinated bronze ewers depict very busy and mischievous Bacchanalian putti at play. A cherub sits atop the handle holding an item in his hands....

Renaissance bronze medallion made by Master IOFF in the mid 15th century, showing the mythological scene of Ariadne on Naxos. Made in the mid-15th ...

It is a delightful classic Venetian mirror with a frame formed by rods and crystal curls, the engravings that adorn this luxurious mirror have been completely handmade, and the finis...

Italy / 16th century / Venetian chest or Cassone / oak, polychroom / antique / renaissance A large carved and gilt painted Venetian marriage chest made in oak in the 16th century i...

Antique mahogany cabinet from around 1880 with decoration and round legs. H: 187.5 cm, W: 73 cm, D: 49 cm. Classic Danish joinery. — Origin: Europe (presumably Denmark) — Period: Ar...

17th century Dutch bronze mortar, dated 1632 and with border text "lof God van al anno 1632". Height 12.5 cm, Diameter 14 cm

A late 17th Century, antique Renaissance Tabernacle door made of hand crafted Walnut, in good condition. The detailed wall panel décor piece is composed wi...

19th Century French Renaissance Two-Tiered Bookcase ~ Bibliotheque is an impressive example of the refined Renaissance style, sometimes referred to as Henri II, with architecture tha...

Spanish Provincial (20th Cent) style painted and carved horse head wall plaque/sign (La Taberna Caballoblanco) (Related item: 049724D).  

Spectacular 18th Century Carved Walnut Renaissance Style Library Table - dining table. With a rectangular top concealing draw leaves at eithe...

This pair of antique covered urns are signed by and unknown maker, and presumed to have originated from France and date to approximately 1880 and d...

SWISS CHEST RICHLY CARVED WITH THE COAT OF ARMS OF THE RIEDMATTEN FAMILY FRAMED BY TWO HOLY CONVERSATIONS ORIGIN : SWITZERLAND, VALAIS CANTON PERIOD : END OF 16th CENTURY – EARLY 17...

This Renaissance style vitrine cabinet is a stunningly beautiful masterpiece in white oak with superb carvings and detail. Note the fourteen carved figures, lion's heads and other su...

A handsome and most decorative Continental 19th century Renaissance st. Wrought Iron chandelier. The wonderful circular eight arm and twelve light chandelier displays an open cage wi...