Renaissance Furniture

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

Pair of Renaissance Alabaster Columns Attributed to Cornelis Floris de Vriendt Flemish, Mid-16th Century 
Alabaster 
H: 27 cm; D: 10 cm This refined pair of all’antica alabaster col...

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...

Elegant Venetian mirror made in the strictest Murano tradition with rich bands carefully engraved by hand. All assembled with golden crystal elements handmade in the Murano furnaces....

The Mahogany Coat Rack Shelf by Niagara Furniture is a great accessory that is both useful and decorative. Created from the finest mahogany solids and ...

Direct from Paris: A magnificent 10pc. sterling silver tea / coffee set by France’s premier silversmith Amelie Cardeilhac (Christofle) in the rare renaissance pattern "Silversmiths t...

Pair of Italian exterior wall lanterns circa 1950. Amber glass panels are secured with scrolled and twisted wrought iron lanterns. Supported by scrolled wall mounted brackets.

ANTIQUE AUSTRIAN DECANTER AND CORDIAL GLASSES Hand-blown pinched clear glass decanter and four matching cordial glasses. Profusely decorated by ha...

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...

A handsome Continental 19th century Renaissance st. Wrought Iron fireplace screen. This wonderful blacksmith forged fire screen is raised by four iron scrolled supports. The rectangu...

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 ...

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

A Very Rare and Important Marble Relief of the ‘Resurrection of Christ’ Attributed to the Master of the Mascoli Altar Marble Venice, Italy Second half of the 15th Century SIZE: ...

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...

English-style (19/20th century) brass hammered oval umbrella stand with 17th Century scene with figures and handles (with liner).

Antique 17th Century Dutch oak and ebony two-door Renaissance cabinet. This extraordinary cupboard is made of the finest quarter-sawn oak...

English Renaissance 17th Century Solid Oak Chest Trunk Spectacular period Renaissance oak chest, dating from the early 17th century. The antique piece features a front composed of p...

An 18th-century Italian Renaissance oil painting of Our Lady of Peace, depicting Mary in red and green robes holding the Christ Child and a white dove. Against a dark, atmospheric ba...

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...

This rare Venetian frame entirely carved in high-relief shows a rich decor of scrolls, garlands, daisy flowers and thistles. At the four corners of the frame are depicted large acant...

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 French Renaissance Octagonal Carved End Table is an amazing example of the woodcarver's art! Eight equal sides are supported by four turned and carved legs, fitted with doub...

Very good pair of 16th century Italian bronze candlesticks of unusually bold design, turned balustrade form and good scale. One pricket lacking.      

Calzetta Da Ravenna (Attivo Tra IL 1496 E IL 1543 circa) Severo. Circle of. Candlestick depicting a kneeling satyr. The model of the present bronze is the ""kneeling satyr"" attributed to Severo Calzetta da Ravenna, one of the main Paduan bronze sculptors of the first half of the 16th century, whose figure was rediscovered by Planiscig in 1935 (L. Planiscig, ""Severo da Ravenna...

Superb 19th century Antique French Dark Oak “Hunt Cabinet”, Bookcase, Vitrine or Display Cabinet! Direct from France, and one of several exquisite glass door bookcase/cabinets from...

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...

Pair of reliefs, San Juan and San Mateo. Polychrome wood. Possibly, Burgos school, 16th century. Pair of carved and polychrome wood reliefs that each show a seated human figure wri...

2 Italian Murano rectangular wall mirrors with cut out top corners and a frame composed of 3 narrow panels of etched floral & scroll design beveled glass (PRICED EACH)

This buffet confiturier is in the style of Henri II, rich in carvings. Buffet confiturier means a cabinet with 1 door that was in the 19th century generally used in the kitchen.

A 16th century Brussels tapestry pillow featuring an expressive and free-flowing pattern that departs from traditional rigid symmetry. The design is composed of layered, linear forms...

Gilt Bronze Display Stand — France, Late 19th Century Elegant gilt bronze display stand made in France in the late 19th century. Crafted in the Renaissance Revival style, with decor...

A late 16th century Renaissance richly carved walnut center table France, The Loire Valley area Dimensions: h. 33.46 in., w. 59.45 in., d. 36.22 in. Our remarquable table is a fabu...

Bronze Narcissus Based on the antique, excavation patina, 19th century

This cassone, remarkable for its sobriety, sits on two clawed lion’s feet and a moulded base. On the façade, there is one large, moulded frame, with two soberly carved medallions inside it. Each medallion has a painted coat of arms at the centre. The two coats of arms are different, suggesting that there was an alliance between two families through marriage. The thick lid has a fluted frieze at the front. On the sides, a wrought iron handle reminds us of the use of this piece, which was intended for storing the property of its owner and allowing them to travel between various residences. The square shaped handles highlight the earliness of this object in the century. The cassone is, along with the bed, a key piece of furniture of the Middle Ages and was still used in the Renaissance Period.

This set of 10 Inlaid Shield Back Chairs by Niagara Furniture features 2 arm chairs and 8 side chairs. These shield back chairs are taller than many...

Rich Renaiscance period half-columns in Belgian Saint-Remy Marble for eclectic interior design. These 2 original antique, 16th century period, columns are mounted on a stand and has ...

Venetian mirror with antiqued frame and carefully hand-engraved decorations according to the Murano tradition. All glass elements are finished with grinding on the edges. The mirror ...

Set of Spanish tiles of the 'dos por tabla/ type in the Arista y cuenca tile made in Toledo. This particular type was to adorn ceilings. Tile decorated in renaissance with stylized ...

Italian Renaissance Gothic style (19th Cent) bronze religious crucifix with filigree cross on 4 legged base with silver plate Christ figure (19th Cent.)

The 19th Century Italian Renaissance Carved and Painted Hall Tree is a stylish and functional piece of furniture that embodies the elegance and craftsmanship of the Renaissance era. ...

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

Antique Renaissance Victorian Hand Carved Black Walnut Full Size Bed Frame by Eastlake Gorgeous Victorian black walnut, finely hand carved full Size bed...

XVI Century, Italian Renaissance wood chest. This important noble chest of the Tuscan Renaissance was built towards the end of the sixteenth centur...

An exceptional and visually arresting set of twelve early playing cards, dating to the late 16th century and originating from Austria. Executed in traditional woodblock print and delicately hand-painted, this rare group beautifully reflects the transition from the Late Gothic period into the Early Renaissance in Central Europe. Each card displays remarkable period detail, particularly in the finely rendered court figures dressed in late 15th-century attire- short doublets and jerkins, tight hose, puffed and slashed sleeves, feathered caps, and stylized armor elements. The costumes embody the expressive elegance of Late Gothic fashion while hinting at the emerging Renaissance aesthetic north of the Alps. The surviving hand-coloring- earthy reds, deep blues, muted greens, and warm ochres- enhances the strong linear quality of the woodcut technique. The natural wear, surface patina, and scattered losses visible in the images attest to the cards’ age and authentic use, adding to their historical character and collectible appeal. The sizes of the cards are irregular. The set includes a mix of pip and court cards, with beautifully stylized suit symbols and dynamic figural compositions. The expressive faces and exaggerated silhouettes are characteristic of 16th-century Austrian and Southern German printmaking traditions. Accompanied by an antique wooden storage box...

The Niagara Furniture Regency Green Leather Arm Chair with full grain leather upholstery combines a super simple design with sweeping lines and finely executed details to help make t...

A beautiful bankers or merchants table that was made in Switzerland around 1750. The table has a square 1.57 inch thick top made in solid walnut. The planks were joined by steel S-sh...

Albrecht Dürer, Saint Eustace. Copper engraving, 1501. Carved later in the 16 century. Signed with the monogram A.D (Albrecht Dürer) Why not having on a...

Italian 19th Century Renaissance Style Walnut Refectory Table with a massive two-inch thick 17th century two-plank top above a 19th century associated boldly carv...

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...

16th Hand Carved Stone Relief Renaissance Building Façade. Modern Iron Foot

This striking Italian trestle table draws from a furniture tradition rooted in the Renaissance, its lyre-shaped trestle legs is a form that has endured for centuries as a symbol of M...

Renaissance-style armour, Spain, circa 1880

A fascinating bit of history, this pair of carved wooden terms dates to the High Renaissance during the 1500s. A term is a beam support in the form of a human head where the bust con...

Wall fountain made of hand-chiseled, antique-patinated natural stone with a straight-lined basin and decoratively curved back panel. The distinctive block design and solid proportion...

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 planter. The octagonal base diamet...

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)...

Original octagonal Venetian mirror made in the strictest Murano tradition, with rich antique bands carefully engraved by hand. All assembled with crystal / blue elements...

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...

This extraordinary Utrecht “Poortkast” (portal cabinet) stands as one of the finest expressions of Dutch Renaissance furniture. Crafted in ...