Renaissance Furniture

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

Spanish Renaissance style (17th Cent) large oak camel top floor trunk with wrought iron trim.

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;...

This petite sized Small Bookcase from Niagara Furniture features good vertical storage in a narrow space. The simple yet elegant design makes it useful...

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

Discover this stunning polychrome terracotta statue of Our Lady of Lourdes. This unique piece, imbued with spirituality and beauty, will bring a sacred touch to your interior. Repre...

Whereas many pieces of furniture during the Italian Renaissance were heavily painted or inlaid with decorative motifs, French examples utilized hand-sculpted elements as the predomin...

A large French Point de Loiselle Renaissance style tapestry, or wall hanging, entitled "Le Jardin de Bagatelle" after a fresco over a fireplace at the Château de Fontainebleau near P...

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...

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 ...

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 ...

The absolute highest quality piece of cabinet making is exemplified in this Custom Built Mahogany Demi Lune Sideboard. From the recently French polished top to the base of this cabin...

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...

French metal canopy bed, queen size, with a bronze finish metal canopy frame with a padded upholstered headboard in a neutral linen fabric. The frame with...

Christofle French silver flatware has been crafted by master artisans since 1830. The revolutionary style and character of Christofle dinnerware comes from collaborations with groundbreaking architects, designers, and artists from around the world. Commissioned by such figures as Pope Pius Ix...

19th Century Continental Renaissance Style Savonarola chair. Handsome antique Continental Renaissance style walnut Savroarola chair, side chair, armchair or throne chair. This beautifully carved Gothic style chair...

SMALL PORTUGUESE BUFFET 19th Century in Rosewood in rosewood wood, shaky friezes, turned legs and beams, bronze fittings. Dim.: 60 x 69 x 46 cm. Good condition

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...

Pair of solid silver candlesticks made in Italy in San Marco (Venetian) style completely handmade. The base is round and hand-hammered with t...

Place this antique triptych on a table for your daily devotions! Created in Italy circa 1960, and carved of pine wood, the religious artwork features ...

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

Four fine bohemian early 20th century cut crystal glasses. Hand-painted with beautifully vivid colors and floral patterns. Can be sold sep...

An Italian Renaissance style side table, of carved walnut, having a rectangular marble top, in molded frame, raised on legs hand-carved as griffins, joi...

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...

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...

Antique French Renaissance Cabinet Server Carved Oak Bookcase Sideboard c1880. Direct from France, a stunning antique French cabinet with opulent hand carvings that create quite a s...

A highly functional and decorative piece this Country Estate Four Drawer File cabinet from Niagara Furniture is made with fine quality burled wood. The top of the cabinet is covered ...

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...

Italian Renaissance style (20th Cent) gilt framed oil still life painting of fruit, jug, and basket

Ludovico Trevisan (November 1401 Venice, Italy - 22nd of March 1465) was an Italian Catholic prelate, who was the Camerlengo of the Holy Roman Church, Patriarch of Aquileia and Capta...

D. JOSÉ CHEST OF DRAWERS Portuguese, from the 18th century in mahogany wood, rosewood frames and rosewood inlays. With 3 large drawers, 3 drawers and clipboard. Wavy and cut-out top,...

Antique pergola tapestry handwoven in wool and silk in Bruges, Belgium in the mid-16th Century. Pergola tapestries are typified by a harmony between ...

A Renaissance Style Patinated Brass Trifid Brazier with Lion Heads and Paw Feet, Circa 1900s Measures 10.5 in diameter" , 23" in height  

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...

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: 14,8...

The Small Chippendale Bench is a hand carved, Chippendale style bench carved from solid, kiln dried, plantation grown, mahogany and features an upholstered slip seat on cabriole legs and ball and claw feet. Beautifully finished with neutral upholstery the Niagara Furniture...

This fantastic two-piece 17th-century oak cupboard was made in Antwerp, Flanders, circa 1680. It consists of two pieces, a lower and an upper cabinet. The lower cabinet can be used w...

A finely rendered octagonal sided wooden model of a Renaissance Baptistry or Church of very good proportions & scale, showing distinctive Islamic influences as observed in the eight ...

16th Century Spanish Renaissance Coffered Ceiling. Tempura on Pine is brilliant colors of azure, red, black and white. Moorish Rosettes and intert...

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...

A fine Italian carved limestone and wrought iron wishing well head from the Veneto area. Great decoration for your garden. It may also be used as a...

Antique tempera Icon depicting St. John the Baptist holding his own head, a reference to his execution by beheading. This came as a result of John publicl...

EXCEPTIONAL CABINET KNOWN AS THE SUMÈNE CABINET   ORIGIN : FRANCE, NÎMES PERIOD : 16th CENTURY   Height: 199 cm Width: 180.5 cm Depth: 69 cm   Walnut wood Good state of preservation ...

Deceptively simple at first glance the Country Estate Partners Desk by Niagara Furniture is remarkably sophisticated in its attention to detail throughout. The top section of the des...

~Direct from France~ ~Stunning antique French server/sideboard with opulent hand carved details that are seldom found on a server~ ~Large size and three open shelves make this piece excellent for a dining room, den, kitchen, and yes, some clients use them for home office organization...

Italian Renaissance style (modern) oil painting of Madonna & Child in antique gold carved frame

English Renaissance style (19th cent) ebonized framed oil painting portrait of 17th century lady in brown dress with scroll design.

2 Italian Renaissance style oak rectangular foot stools with cane seat (priced each) (20th Cent.).     

A fine Italian carved limestone and wrought iron wishing well head from the Veneto area. Great decoration for your garden. It may also be used as 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...

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

An elegant and high quality German 19th century Renaissance st. Ormolu box, by Erhard and Söhne. This stunning box is raised on gargoyle head feet below the straight and mottled apro...

French Renaissance Victorian style gold figural console table with marble top. Item features a shaped marble top, carved wood base with male and ...

Beautiful weathered oak winged angel head Renaissance ornament. France, 16/ 17th century. Weathered Measurements include the wooden pedestal.

16th Century French Renaissance period fireback with the Arms of France. Coat of arms of the house of Bourbon, an originally French royal house that became a major dynasty in Europe....

Rare carved Renaissance cabinet Period : 2nd half 16th century, ca. 1570 Origin : France, Burgundy or Languedoc This cabinet embody the produ...

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...

Antique Italian Neo-Renaissance parlor settee / loveseat / bench, circa 1870s. Made of walnut featuring Neoclassical styling with high relief figural carvings of cherubs / puttis, N...

On offer here is an antique four-door cupboard, in Dutch, named “Kussenkast”, that was made in the Northern Netherlands in the late 17th century. This cupboard takes its name from th...

Late 19th century Italian wrought iron lantern with its multicolored stained round glass. Each disk is unique, hand blown and hand colored probably originated from the Venetian islan...

The Niagara Furniture Leather Regency Chair is upholstered using only genuine full gran leather and accented with brass nail trim. This Regency s...

Pair of English Renaissance style (19th Century) large leaded glass window panels with center medallion.

Acquareccia plate Patanazzi workshop Urbino, last quarter of the 16th century It measures diameter 17.12 in; foot diameter 11.53 in; height 1.88 in (43.5 cm; 29.3 cm; 4.8 cm). Weight State of conservation: wear and a few small minimal detachments of enamel, chipping on the raised areas, peeling of enamel at the brim on the back. This large, shallow basin is equipped with a wide and convex well. It is umbonate with a contoured center. The brim, short and flat, is enclosed in a double rounded and barely raised edge. The basin has a flat base without rims; it has a slightly concave center in correspondence to the well. The shape takes inspiration from the basins associated with the metal forged amphora pourers that traditionally adorned the credenza. These were used from the Middle Ages to wash hands during banquets. Two or three people washed their hands in the same basin and it was considered an honor to wash one’s hands with an illustrious person. The decoration is arranged in concentric bands with, in the center of the umbo, an unidentified shield on a blue background: an oval banded in gold with a blue head, a gold star and a field with a burning pitcher. Rings of faux pods separate the center from a series of grotesque motifs of small birds and masks. These go around the basin and are, in fact, faithfully repeated on the brim. The main decoration develops inside the flounce of the basin, which sees alternating symmetrical figures of winged harpies and chimeras. The ornamentation, outlined in orange, green and blue, stands out against the white enamel background. This decorative style, defined since the Renaissance as “grottesche” or “raffaellesche”, refers to the decorations introduced after the discovery of the paintings of the Domus Aurea towards the end of the fifteenth century. The discovery of Nero's palace, buried inside Colle Oppio by damnatio memoriae, occurred by chance when a young Roman, in 1480, fell into a large crack which had opened in the ground on the hill, thus finding himself in a cave with walls covered with painted figures. The great artists present in the papal city, including Pinturicchio, Ghirlandaio, Raffaello, immediately visited these caves. The decorations found there soon became a decorative subject of immense success: the term grotesque , with the meaning of “unusual,” “caricatured,” or “monstrous,” was later commented by Vasari in 1550 as “una spezie di pittura licenziose e ridicole molto”( “a very licentious and ridiculous kind of painting”). The decorations “a grottesche” also widely circulated in ceramic factories, through the use of engravings, variously interpreted according to the creativity of the artists or the requests of the client. Our basin is reflected in similar artifacts produced at the end of the sixteenth century by the factories of the Urbino district. See the series of basins preserved in the main French museums, among which the closest in morphology is that of the Campana collection of the Louvre (Inv. OA1496); this however has a more complex figure decoration, while the decoration of our specimen is sober and with a watercolor style. The style, sure in its execution, approaches decorative results still close to the works produced around the middle of the sixteenth century by the Fontana workshop. The decoration is closely linked to their taste, which later finds its natural outlet, through the work of Antonio, also in the Patanazzi workshop. Studies show the contiguity between the two workshops due to the kinship and collaboration between the masters Orazio Fontana and Antonio Patanazzi, both trained in the workshop of Guido Fontana il Durantino. It is therefore almost natural that their works, often created according to similar typologies and under the aegis of the same commissions, are not always easily distinguishable, so much so that the presence of historiated or “grottesche” works by Orazio is documented and preserved in Antonio Patanazzi's workshop. Given that the studies have always emphasized the collaboration between several hands in the context of the shops, it is known that the most ancient “grottesche” works thus far known, can be dated from 1560, when the Fontana shop created the so-called Servizio Spagnolo (Spanish Service) and how, from that moment on, this ornamentation became one of the most requested by high-ranking clients. We remember the works created for the Granduchi di Toscana, when Flaminio Fontana along with his uncle Orazio supplied ceramics to Florence, and, later, other commissions of considerable importance: those for the service of the Duchi d’Este or for the Messina Farmacia of Roccavaldina, associated with the Patanazzi workshop when, now after 1580, Antonio Patanazzi began to sign his own work. Thus, in our basin, the presence of masks hanging from garlands, a theme of more ancient memory, is associated in the work with more advanced stylistic motifs, such as the hatching of the chimeras and harpies. These are found here on the front with the wings painted in two ornate ways. In addition, the theme of the birds on the edge completes the decoration along the thin brim and can be seen as representing an early style typical of the Urbino district during a period of activity and collaboration between the two workshops. Later, a more “doll-like” decorative choice, typical of the end of the century and the beginning of the seventeenth century, characterized the period of the Patanazzi workshop under the direction of Francesco. Bibliography: Philippe Morel, Il funzionamento simbolico e la critica delle grottesche nella seconda metà del Cinquecento, in: Marcello Fagiolo, (a cura di), Roma e...

Pair of Italian Renaissance style (19th Century) black painted iron scroll design gates with serpents (PRICED AS Pair).

A heavily carved salon table egg and dart carved edge trim, carved apron with arched frieze with masks. The table supported by four detailed figural supports conjoined with an elabor...

Stunning Renaissance cupboard or so-called Zeeuwse Kast in the Netherlands. Striking Dutch design from the Late 17th century. Solid original oak two-piece cupboard with original ebon...

Great image after Claude Lorrain Fine steel engraving Published circa 1850 Unframed. Free shipping

This beautiful and friendly-sized cupboard is made of the finest watered oak in the tradition of the Dutch Renaissance during the “Dutch golden age” It is a two-door cabinet over ebo...

Collection Jean Thuile Around the mid-sixteenth century French furnishing evolves in its conception and ornamentation. The start of major archi...

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...

This late 17th century Spanish Renaissance writing table is constructed of solid walnut and features an impressive 30-inch wide top made from a single plank of walnut. The top joins ...

Exceptional neo Renaissance bookcase forming desk. This monumental piece consists in a lower part forming drop-front desk supported by two pillars with drawers. The lateral parts each open with a moulded door. The bookcase occupies the upper part, opening by four windows...

A wooden Umbrella Stand shaped like an umbrella. One of the rarest of antiques this is the Niagara Furniture version of a Mahogany and Brass Umbrella Stand. An umbrella shaped umbrella holder produced from the finest quality solid mahogany hardwoods and hand cast solid brass fixtures...