Renaissance Furniture

Large wedding chest in tinted and gilded walnut, the lid animated with a frieze of pearls, the sides with compartments, the belt decorated with gadroons. It rests on four claw feets.

A striking example of early 20th-century Spanish craftsmanship, this remarkable vargueño desk captures the enduring romance and architectural character of historic Iberian furniture ...

Italian Renaissance Figural Carved Marble Top Side Table with Winged Cherub Head. Item features has an inset marble top, figural carved 3 dimensional winged cherub head, stretcher ba...

A beautifully decorated 18th century Italian Majolica faience ‘wet’ or syrup albarello/drug jar. Blue and white having a front reserve, blue and white scrolls to body. Beautifully de...

An important early antique Italian Renaissance table box, handcrafted in Northern Italy in the 17th/18th century, cassone chest form, richly inlaid, the top and front panel with fruitwood banding framing...

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...

Renaissance-stained glass panel, 'Seven Men of Good Reputation' French or Flemish, 17th century or older A Renaissance stained glass panel, "Seven Men of Good Reputation," originating from France or Flanders, dates back to the 17th century or earlier. This exquisite 12.5-inch square window features seven vivid medallion portraits, believed to depict the Seven Deacons: Stephen, Philip, Prochorus, Nicanor, Timon, Parmenas, and Nicolas. Each portrait is intricately stained, enameled, and painted, capturing the rich colors and detailed expressions typical of Renaissance artistry. The Seven Deacons were pivotal figures in the early Christian church, chosen to minister to the community of believers in Jerusalem, allowing the Apostles to focus on prayer and the ministry of the word. This stained glass panel not only represents significant religious history but also showcases the exceptional craftsmanship of the period. Its vibrant imagery and historical context make it a rare and valuable piece for collectors and enthusiasts of Renaissance art and Christian history. Whether displayed in a home, church, or museum, this historically significant...

The Penhurst Mahogany Desk in the Niagara Furniture collection. This desk matches a number of other pieces which we produce, please see the links below for related products. The fant...

Please message us with your zip code to request a more reasonable domestic U.S. shipping quote. Vintage Farmhouse Renaissance Style Mexican Double Lid Wooden Coffee Table Storage Tr...

Please message us with your zip code to request a more reasonable domestic U.S. shipping quote. Antique Spanish Renaissance Gothic Scrolling Wrought Iron 57" (High) Garden Entry Gat...

It is a delightful classic Venetian mirror from the island of Murano in gold color with white gold flower finish, engraved and worked entirely by hand according to the Murano traditi...

Please message us with your zip code to request a more reasonable domestic U.S. shipping quote. Antique Italian Gothic Renaissance Wrought Iron Stretcher Base Potting Side Table (A)...

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...

Sold as a pair. An Italian set/pair of gold gilt brass or bronze metal and glass wine or liquor pitchers/ewers, circa 20th century, Italy. Pitcher/ewers have scrolled handles, gilt m...

A gorgeous, high quality Burled Center Table from Niagara Furniture with plenty of presence to brighten up any room. Banded and burled top, hand c...

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...

Superb and rare Renaissance period oak monastery table from the Flanders Unique museum quality table with a superb top that has an extraordinary patina. Its 5cm thick top gives it a...

Early Arista y Cuenca tile, most likely made in Sevilla. Azulejo tile decorated with a gemetric pattern with 4 central leafs within a cirlce. Mid 16th century In very good conditi...

Presenting an absolutely stunning 16th century carved Spanish oak writing desk and cabinet, with amazing provenance and historical and literary significance. This desk/cabinet was purchased by a wealthy Dallas family from a French antique auction held at the club room in the Stoneleigh court (hotel), Dallas on Wednesday the 2nd April 1930. (Now the meridian hotel). The auction was titled: “works of art and furnishings of the Chateau de Turique (Nancy) and the Conde-Rougemont home (Touraine). The cover of the catalog also has a seal of a coat of arms. The second page gives a brief description of the auction contents and states that " this exhibition will be presented by M. Fernand M. Adda of Paris France". The desk/cabinet was lot no: 565 and was described in the auction catalog as: "Carved Spanish writing desk and cabinet...... 16th century period....Upper section a cabinet with two doors which are paneled and display a fine carving. The interior is fitted with eight engraved drawers, and a writing tablet is disclosed in the lower portion. Sustained and central arcade of columns. From Fontana Rosa collection. Supported on four turned legs with bulbous feet." Fontana Rosa is a historic garden situated on the avenue Blasco Ibáñez in Menton, Alpes-Maritimes, on the French Riviera. The Spanish writer Vicente Blasco Ibanez (1869-1928) began to build it from 1922 on, and he set up home here with his second wife, Elena, and died there in 1928. Vicente Blasco Ibanez was a journalist, politician and best-selling Spanish novelist in various genres whose most widespread and lasting fame in the English-speaking world is from Hollywood films adapted from his works. The provenance is impeccable, it belonged to Ibanez and was part of his collection at Fontana Rosa when he died in 1928. The auction in which it was first sold in Dallas was in 1930, which makes perfect sense from a 'timeline' point of view. Ibanez is a very important literary figure. Having regard to the fact that this is a writing desk means that in all probability, Ibanez would have 'penned' some of his famous works at this very desk and using the surviving slope/shelf. Fontana Rosa is a historic garden situated on the Avenue Blasco Ibáñez in Menton, Alpes-Maritimes, on the French Riviera. The Spanish writer Vicente Blasco Ibáñez (1869-1928) began to build it from 1922 on, and he set up home here with his second wife, Elena, and died there in 1928. This garden with Spanish and Menton pottery is found in avenue Blasco Ibanez, near Garavan station, and was created a Historical Monument in 1990. It is also called “Le Jardin des Romanciers” (El Jardín de los Novelistas/The Garden of Novelists), and was frequented by celebrities such as Jean Cocteau. It was the place where Blasco Ibáñez wrote Mare Nostrum, a novel filmed later in 1926. The garden inspired by Andalusian and Arabian-Persian styles contains species such as Ficus macrophylla, Araucaria heterophylla , palm trees, banana trees or scented rosebushes. It is a tribute to Vicente’s favourite writers : Cervantes, Dickens, Shakespeare or Honoré de Balzac, whose busts can be found at the entrance and to whom he dedicated several fountains and rotundas. Its main buildings are a small elevated villa with polychromatic pottery which houses a library and a personal movie projector...

Antique Tiffany & Co number 2114 bronze sculpture portraying a scene from Quentin Durward. Written by Walter Scott and published in 1823, Quentin Durward is the story of a young Scot...

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-story four-door cabin...

An elegant Italian terracotta sculpture of a classical youth, circa 1900. Finely modeled and beautifully proportioned, the figure stands in a graceful contrapposto pose, his gaze low...

An extraordinary architectural wall relief painting depicting the elegant façade of a Venetian palazzo in the Renaissance style. This highly decorative 20th-century piece is hand-pa...

Black coral sea fan embellished with green tourmaline and a showy quartz druzy shell specimen mounted on a 19th-Century French bronze doré fragment. This is a lovely objet d'art to a...

From Niagara Furniture a vintage Henkel Harris Bachelors Chest of Drawers in very good condition. Simple yet sophisticated this beautiful...

Petite lacey black coral sea fan embellished with tourmaline mounted on a 19th-Century French bronze doré fragment sitting on an optical calcite base. This is a lovely objet d'art t...

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 ...

This Italian walnut chest called « cassone » is shaped as an antic sarcophagus. The beautiful patina and the plain lid bring to the fore the facade richly ornated with vegetal motifs...

The Netherlands Circa 1600 – 1625 A vierpas (quatrefoil) of four tiles, pure Dutch Renaissance. With leaf and flower ornaments and pomegranates on the sides. This decor is known to ...

A beautiful early 18th-century four-door Renaissance cupboard in the best quality solid oak and walnut veneer. The cupboard boasts a warm honey color combined with deep gloss and a r...

Pair of late 19th century French nightstands with elegant proportions, ideal for that place where you need "something". This versatile a...

Antique Neo-Renaissance Revival writing desk. Made of walnut featuring Neoclassical styling with high relief figural carvings of cher...

Fabulous pair of marble top night tables in a french / Italian Renaissance style c1935 with Marquetry and inlay, bronze mounts and (porcelain i...

Large rectangular Venetian mirror, made in the strictest Murano tradition, with a central glass mosaic. Finely hand-engraved on the b...

A pair of antique, circa 1830, Italian Renaissance style hand carved walnut sgabello hall chairs. Hand-crafted in Provincial Italy, most likely ...

Superb pair of wrought iron and bronze curule armchairs Very elegant pair in beautiful quality wrought iron. The armrests and backrest are decorated with gilded bronze toupilles and ...

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

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)

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

In the past, this type of large toilet service would have been an essential luxury for an elite woman. They were used to store makeup, perfume, pins, ribbons and anything else a lady needed to dress for High Society. Placed in a prominent position in a lady’s bedroom, the service would have signified its owner’s wealth and high status. This nine-piece service is of Austro-Hungarian origin, being created in Vienna in the late 19th century. The service includes a double sided table mirror...

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 exquisite and very rare 16th century renaissance Silk brocade fragments mounted and artistically displayed in the Glas case on the antique linen. Both fragments are greatly preserved and originated by its design from famous Palazzo Pitti in Florence. The ornaments contain flowers, jaguars, birds and Fleur De Lis- the symbol of royalty. The colours remain vibrant and parts of golden embroidery/ threads are in very good condition considering the age. Both fabric...

18th Century Italian Majolica Albarello Pharmacy Jar. Jar is in a cylindrical shape with flared rim and foot. Jar features blue and white pattern with the word "Charitas" in an oval ...

Pottery was an important part of daily living in ancient Rome. As Romans used earthenware for most purposes, a huge quantity of utensils - cooking pots, amphorae and fine wares were ...

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...

Joseph Bertin - Milan - Ebene Desk 19th Century Magnificent ebene desk by the cabinetmaker Joseph Bertin from the 19th century with the manufacturer's signature and stamp. This des...

Early Arista y cuenca tiles made in Toledo. Tile decorated in renaissance with stylized flowers, probably made between 1550 and 1575. Also separately available, please reach out t...

Tempera and gold background on panel. 28.2 x 24.7 cm. Cracks and reinforcements. 18th century Crete School. Greece Here is the iconographic image of the boy being rescued by St...

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...

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

A rare and beautifully cast pair of large Venetian solid bronze torchere pedestals, in the Classical manner, with acanthus, anthemion and masks, with good patina.

16th century, Flemish storied wood tapestry Flanders Brussels The beautiful and precious tapestry, of fine workmanship and made with wool yarns, was made in the 16th century in F...

English Renaissance style (19/20th Century) carved oak 3 fold screen with carved cupid design.

Rare monumental Hunt style Renaissance Revival cabinet by Alexander Roux 1870 museum quality piece. Carved out of solid oak with numerous rich details...

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...

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

Highly decorated Renaissance style Belgium solid brass jewelry trinket box.

The Niagara Furniture Hidden Drawer Desk, a luxury piece of fine furniture with a hidden surprise inside. This tall chest was originally designed f...

"Medieval Iron Pauldron (shoulder Armor) C. 1480–1520" Late Medieval Iron Spaulder (Shoulder Defence) with Brass Edge & Rotating Button, c. 1480–1520 Authentic-looking late medieval...

An ebonized wood cabinet with painted pietra paesina panels Augsburg, southern Germany, mid-17th century Dimensions: h. 43 cm, w. 32 cm, d. 20 cm Ebonized wood, inlay of painted piet...