Renaissance Furniture

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 ...

A rare 16th Century Italian stone Corinthian half-capital, carved in Ligurian slate, mounted on a simple wrought iron bracket for wall hanging.

This is a Pair of Gilt Cobalt Blue Urns. Both Urns depict a cobalt blue background that is decorated in the center with a hand painted country side landscape ...

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

This Italian tempera painted on gilt wood gold ground panel is a Tuscan religious artwork in the style of late Renaissance - early Gothic period. The sc...

Although when most people hear the word “gargoyle”, they probably envision small, winged creatures with grotesque visages. However, the phrase has a deeper meaning, encompassing any carved head (animal or human) that function as waterspouts. From the Early Renaissance (late 1400’s/early 1500’s), our gargoyle fountain spout features a human-like face with pointed ears, possibly representing a centaur or a satyr. The roughly rectangular block of marble was hand-carved in Arezzo, in the Tuscany region of Italy. All sides except the front of the cream-colored stone have a sawed finish, resulting in a rough texture. The back has been excavated, adding to the character of the gargoyle. A 1 ½” diameter hole has been cut all the way through, forming an open mouth of the gargoyle. The gaping mouth was often a symbol used to conjure images of devouring giants and used to remind people that they are susceptible to certain forces. Our 15th/16th century marble...

Large and impressive baluster ceramic vase by Faïencerie de GIEN, France, 1970s. Hand-painted majolica on earthenware. Stunning decor ! Height: 17.3"(44cm), Diameter : 9.9"(25cm). St...

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...

Wonderful pottery wine cooler Hand painted decoration Factory mark on the underside ( not identified ) Condition commensurate with the age of the piece. A few minor chips seen in ...

Early Arista y cuenca tile fragment made in Toledo. Tile decorated in renaissance with stylized flowers was probably made between 1550 and 1575. Losses and wear.

Walnut with verde antico marble inlay, with two wholly carved draped female allegorical figures within arched recesses, and a bas-relief on the central door. Rich and heavily carved...

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...

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...

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 ...

Paolo di Giovanni Sogliani (Florence 1455-1522) Processional Cross Florence, around 1515 Enameled, chiseled, engraved, stippled, and gilded copper; wooden core ; Inscription: "OPA...

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

Découvrez un art de vivre à la française avec ce plat carré en faïence de Gien, orné d'un magnifique décor renaissance italienne sur un fond bleu éclat...

Early Arabe / Mudejar style tile with geometric decoration, made late 15th century.

This Spanish walnut throne chair with a large wide seat made circa 1700. Made from well carved but simply done walnut the chair is centered on a leather covered seat and back with large antique nail heads...

19th Century Flemish Renaissance Buffet ~ Credenza is a remarkable work celebrating the splendor of the Renaissance Revival from top to bottom! The boldly gadrooned top edge frames ...

The Solid Mahogany Library Chair, also known as a metamorphic chair as created by Niagara Furniture. This style of Solid Mahogany Library Chair was o...

Historic cabinet, France, circa 1870. Very good condition. Wood: oak height 254 cm x width 150 cm x depth 62 cm

Superb and rare Italian Renaissance chest from the end of the 16th century/beginning of the 17th century circa 1600 from Lombardy in walnut Very beautiful chest with a superb work o...

Antique Italian Pietra Dura Hardstone Wood Ormolu Cabinet on Stand Italian, Late 19th Century Height 227cm, width 141cm, depth 46cm Rich in detail and craftsmanship, this magnific...

Tapestries were ubiquitous in the castles and churches of the late medieval and Renaissance eras. At a practical level, they provided a form of insulation and decoration that could be easily transported. In addition, the process of tapestry weaving, where every stitch is placed by hand, enabled the creation of complex figurative images on an enormous scale. This is an excellent example of 16th century Flemish Renaissance Tapestry...

This rare Dutch cabinet is made of the finest oak in the tradition of the Dutch Renaissance during the “Dutch golden age” This cabinet is made in t...

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...

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...

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...

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...

In Medieval Europe and even more during the early 16th century fantastic beasts could be found in Bestiaries, a literary genre close to poetry. A bestiary used the characteristics of...

Artempo Italian palazzo fireplace surround. Exquisite original wear for exceptional authentic interior design project. 16th century period and one of a kind castle element. This fire...

Mid-19th century over life-size carved marble statue of Michelangelo's "Bacchus". Grand Tour copy through the "Point To Point" method directly from the original keeping its masterful proportions and Fine details in an exact size to Michelangelo's work. We have never seen a 19th century copy of this Renaissance Masterpiece of this size and are quite fortunate to be responsible for its stewardship until purchase by a discerning collector The original "Bacchus" is a marble sculpture by the master, Michelangelo, created circa 1496 when the artist was 21. This statue was originally commissioned by Cardinal Raffaele Riario. However, it was rejected by him and eventually found its way to Jacopo Galli, Cardinal Riario’s banker and a friend of the sculptor, who purchased it in 1506. Some 66 years later it was bought for the Medici and transferred to the royal house in Florence, Italy. Currently it can be viewed at the Museo Nazionale del Bargello in Florence. It is one of just two sculptures surviving Michelangelo’s initial period in Rome, with the other being Pieta. The artwork: This somewhat oversized...

This late 18th century cabinet is a so called 'kussenkast' or pillow cabinet. The pillow refers to the shape of the raised panels in the doors. It is a typical Dutch Renaissance cabinet...

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

Early Arista y cuenca tiles made in Toledo. Tile decorated in renaissance with stylized flowers, probably made between 1550 and 1575. I have four of them available, please reach o...

This 18th-century foxed mirror, nestled within a meticulously hand-carved wooden frame, epitomizes the elegance and craftsmanship of the late Renaissance pe...

Indo-Portuguese sculpture "Lady Conception" 17th century, H 147cm. Our Lady Conception Indo-Portuguese teak wood carving from the 17th century. Upholstered and polychrome . T he ...

A very rare Antique Brocatelle Silk Panel woven in Venice or Florence Italy using crimson silk and silver threads on a linen ground Dates from 17th century circa 1650 Expected an...

Credenza, Drinks cabinet, Cabinet, Sideboard in beech carved on its 3 facades. The splashback is decorated with fine sculpted figures of fruit, fruit baskets, plants and birds, proba...

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...

Madonna and child, Classical 19th century painting. This lovely oil painting was purchased in Spain. The artist is unknown. The painting still maintains its original finish and ha...

Mid-Century Florentine Black and Gold Gilded Frame, Italy. Sturdy and beautiful, this frame is ready for a picture and certainly captures that European vibe. Accommodates 16x20 artwork

This rare Renaissance cabinet is richly decorated on the doors and drawers with carvings depicting the four seasons, and on the uprights and the entablature, alternating flower bouquets inlaid with mother of pearl. This is a beautifully conceived piece of furniture, representing a crowned portico with its entablature and cornice. The upper body Articulated separately in a ternary rhythm, as with the lower body, the upper part opens with two carved doors. The doors are framed by both the lateral uprights and the casing. There are cartouches carved into the casing in which mythological figures are depicted with flower bouquets. On the doors: On the right: Spring, a female figure crowned with a wreath of leaves, holding a basket full of flowers. She is wearing necklaces and bracelets on each arm, with drapery discretely wrapped around her body and is standing on a winged putti’s head. On each side are depicted a tree and a village with a steepled church. Above her head floats the three signs of the zodiac corresponding to the season: Aries, Taurus and Gemini. On the left: Summer, a bearded man crowned with ears of corn and bearing armfuls of corn. He is standing on a similar winged putti, flanked by a tree and an ear of corn. The following three signs of the zodiac appear: Cancer, Leo and Virgo. On the uprights and the central casing a number of smaller figures seem to represent virtues and vices that newly wedded couples should aspire to and avoid. On each side, at the bottom of the uprights, there is a dog representing fidelity. Above, a lion embodies power, wisdom, and justice. In between, on the left upright, there is a figure of noncombatant Athena wearing a helmet and holding a spear, an arrow pointing down and in her left hand, a shield, symbol of protective power. On the right upright, the goddess Venus controls the arrow of Cupid. The iconography here acts as a clear reminder of the required virtues that both parts of a young couple need to fulfill: fidelity, power, wisdom and justice. For him, the goddess Athena focuses on the power. Whereas for her, it is Venus who shows how to control Cupid’s arrow. On the central casing at the bottom, by way of contrast, there is a peacock, a symbol of pride and at the top, a monkey representing lust and mischief. In between, a woman holding a chain and a cup full of precious stones while on the floor sits a half empty opened casket. This can be interpreted as a symbol of extravagance. Above, the entablature, decorated with male figures resting on leaking urns, may symbolize the passing of time. They are flanked by two consoles decorated with acanthus leaves and separated by flower bouquets (inlaid with mother of pearl). Finally on top, a cornice acts as a crown for the piece of furniture. The lower body The moulded base stands on four round, flattened feet. Represented on the doors: On the left: Autumn, a stocky, naked man crowned with vine leaves, holding fruits in his right hand and with his left, picking a bunch of grapes from a climbing vine. Standing on a mound, he is surrounded by a vine and a hill, at the foot of which a man presses the grapes in a big vat after the harvest. Above the climbing vine appear the signs of Libra, Scorpio and Sagittarius. On the right: Winter, an elderly man wearing a fur cloak...

Very decorative Italian frame in the manner of Sansovino, mid 19th century. Gilt and paint, carved with scrolls, masks and swags. Mercury glass with foxing, some light scratches. The...

Antique Grand Italian Renaissance Two-Tier Buffet in Walnut will make an unforgettable statement in your family room, dining room or entertainment room! The carved detail from top t...

The Olive green silk velvet of Ferronerie design Dating from 15th century. With stylised pomegranate motifs. Renaissance possibly Florence Consisting of two joined panels. The ...

Manner of Titian (Tiziano Vecelli - Italian, 1485-1576) An Oil on Canvas "Sleeping Cupid" within a gilt and black decorated gesso frame. A label on reve...

Portapaz. Silver in its color and gilded. Century XVI. Portapaz made of silver that has a handle (decorated with delicate plant motifs similar to those of the pilasters) and a female and a male bust at the bottom, as well as other architectural elements on the back, and, on the front, an architectural composition classicist basement (with busts flanking a flower and a cross), two pilasters (vegetal decoration and capital recalling the composite order) with entablature (flowers flanking an angel's head; moldings), and a semicircular arch finish with elements veined in relief under cross and flanked by two architectural motifs in the upper part. This composition frames and enhances a gilt silver relief where you can see the Lament or Cry over the Body of Christ, with the Virgin holding the head of Jesus, Saint John at her side, the Magdalene and other characters, a cross following the group and a landscape background with houses and plant elements. This architectural structure mentioned is similar to the one present in other 16th century portapaces, such as that of the Magdalena de Dos Hermanas parish (Hernando de Ballesteros el Mozo, around 1575); or that of the Galaroza parish (same author and date); or that of the portapaz of San Miguel de Jerez de los Caballeros (in some details); etc. As for the relief, it is possible to clearly see a strong Italian influence, and the similarity between it and important pieces such as the Portapaz known as “de Cisneros by Juan de Burgos (1493-1497; MuseoCatedralicio de Alcalá de Henares), as well as in paintings and reliefs. Also noteworthy are both the male and female busts in the lower area and the Maltese cross (or Saint John's) that appears in this area. This symbol was used since the 12th century as an insignia by the Knights Hospitallers of the Order of Saint John of Jerusalem, also known as the Order of Malta...

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...

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...

A great quality piece of furniture this Vintage Marble Top Center Table will be the focal point of any area in your home. From the beautiful marble top, surrounded by a brass gallery...

Venetian mirror made in the strictest Murano tradition with a crest and frame carefully engraved by hand. All assembled with golden crystal elements handmade in the Murano furnaces. ...

A scale white statuary marble sculpture of Moses after Michelangelo circa 1875. After the larger than life-size Carrara marble original from the tomb of Pope Julius II in St. Peter’s Basilica, Rome completed around 1515. This scale sculpture is exceptionally carved, capturing the quality and detail of Michelangelo’s Moses...

On the left post of the lower body, is written the date 1596 in a cartouche This cabinet has two bodies. The upper part, set back, is moulded and carved. At the bottom, the cabine...

Fountain made of hand-chiseled, antique-patinated natural stone with two stacked bowls. The central section is decorated all around with lion head motifs.

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

Italian Renaissance Revival Library table, Mid/late 19th century In satinwood, burl, ebony, and other timber with marquetry veneer...

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 Stunning and Rare 19th Century Handcrafted Tooled Brown Leather Italian Renaissance Design Fitted Writing Cabinet On Original Plinth Featuring fourteen hand-painted portraits (aft...