Renaissance Furniture

Pictured in the Caldwell archives at the Smithsonian, this important pair of enormous andirons are in the Italian Renaissance style.

Rare basin (We think it was the basin to wash the feet on hollyThursday) in brass Rare plat of the german renaissance since it is rather a basin which is much rarer than a offering basket...

Elegant bronze mortar from the 17 century from Italy dated 1630. Really rare mortar due to his big size. In very good condition and beautiful patina.

Amazing 18th Century Baroque Renaissance Console shelf, in Hand Carved Walnut, with Gilt Edging. Wax polished.

This outstanding Tonnerre stone fireplace is a masterpiece of the first French Renaissance. It was sculpted in 1534, under the reign of King François the 1st for Philippe Merlan (1503-1546), Baron of Montpont, Lord of Jully-lez-Arnay-le-Duc. This monumental fireplace...

A terracotta bust of Christ as The Redeemer Tuscany or Emilia Romagna, late 15th century Measures: 46 x 43 x 21 cm This powerful, moving bust of...

16th century artifact imported from Europe; a beautiful figure with patinaed painted wood. An alter piece with a hook on the back for hanging. Lovely adorn...

A fashinating 17th century Italian Virgin with Child, an hand-made rectangular shaped relief devotional plaque in polychrome glazed terracotta depicting a Madonna with Child, dating ...

Bronze mortar with garlands, flowers and putti - Tuscany , second half of 17th century. Measures: height 10 diameter : 13 cm Artisans and healers used mortars for grinding food...

A set of 9 polychrome Dutch Delft tiles with flower vases. Made in The Netherlands. Circa 1600 - 1620. A wonderful set of 9 tiles with flower vases painted in a quadrant or diamond. Early polychrome Dutch tiles...

large 17th century Spanish table in oak and chestnut - Castille rare table with a very good dimension posterior restorations Superb patina and in perfect condition Delivery ...

SHIPPING POLICY: No additional costs will be added to this order. Shipping costs will be totally covered by the seller (customs duties included). The Fall of the Damned...

Monstrous whale attacks a sailing ship. Unidentified woodcut artist for Konrad Gesner (aka Conrad Gesner; Philiatrus Euonymus) (1516–1565) Fine folio woodcut leaf. Measures:...

Cerberus Black painted stone Italy, 17th century Measures: 80 x 69 x 36cm (one head missing) Cerberus, cruel monster, fierce and strange, Through his wide threefold throat barks as a dog Over the multitude immers'd beneath. His eyes glare crimson, black his unctuous beard, His belly large, and claw'd the hands, with which He tears the spirits, flays them, and their limbs Piecemeal disparts (Dante, Inferno, Canto VI). Cerberus figure seated, in his role of ferocious guardian of the underworld; he shows a nervous musculature, an adherent skin which reveals the ribs, long and robust limbs; his heads are broad and the eyes set well apart. Painted in black to amplify his menacing look, the infernal guardian is depicted with his famous attributes, writhing his heads, growling and barking furiously. Cerberus, in Greek mythology, was the monstrous watchdog of the underworld – also known as the “hound of Hades” – preventing the dead from leaving, and making sure that those who entered never left. A child of Typhon and Echidna, he was part of a monstrous family, which included Orthus, the Lernaean Hydra, and the Chimaera as well. Only on three occasions Cerberus was tricked by visitors of Hades: Heracles did it with his strength, Orpheus with his music. In "The Inferno", Dante places Cerberus as the guardian of the third circle of Hell. With his three mouths, Dante saw Cerberus as a beast that was synonymous with the sin of Gluttony. Virgil gets past the monster by throwing mud in his three mouths, temporarily choking him. Very rare are the representations of Cerberus in ancient statuary...

18th century wooden carving of an female form. Presumed to be a French church piece. This figure has a beautiful face.

SHIPPING POLICY: No additional costs will be added to this order. Shipping costs will be totally covered by the seller (customs duties included). The flared trumpet bowl set on...

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

Outstanding and expressive sculpture of Crucified Jesus Christ in carved polychrome wood is approximately from middle 17th century, originated from Italy. The quality of details is ...

constructed of pinewood this frame is completely ebonized and then decorated in stencil and free hand gilding, with raised outer moldings, the separate mirrorplates are modern.

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...

An incredible and rare 15th century French carved limestone fragment depicting the back of a man's head with a wavy hair texture, and mounted on a c...

Set of Four Chinese Paintings in Rosewood Frames, Signed, 19th Century, Oil Canvas Stunning example of Oriental works on canvas on wood. Each in a fine custom rosewood frame, matted. The set depicting a story of a band leader...

Over the centuries, in period known as Renaissance, more than several painters all over Europe were fascinated by the theme based upon similar subject with Mother and the Child as main figures. This stunning Madonna with Child oil on canvas painting is approximately from 16th century and could belong to a follower or a circle of Giovanni Bellini...

An small but exquisitely cast and highly detailed bronze statue of St Joan of Arc in full body battle armour including the horse with one hand holding ...

Coppia di Importanti Cariatidi del 1600 in legno intagliato a patina scura provenienti da un complesso corale impiegati come divisori tra gli stalli. Le due figure sono asessuate, co...

Portrait of a Gentleman from Della Ruota family Lombardy, dated 1624 Oil on canvas Measures: 105 x 81 cm (without the frame) The coat of arms at the top left of the portrait identifies the effigy as an aristocrat belonging to the Lombard family Della Ruota, represented at the age of 61 in 1624. The presence of vanity at the bottom right is a clear reference to the passage of time, to the aging and dying body...

A rare Dutch Renaissance 17th-century Maternity room or Child's cabinet, in Dutch called 'Luiermandskast' circa 1650, possibly the circle of Herman Doomer...

With a rectangular top with molded edge over a frieze with two drawers flanked by three acanthus carved corbel shaped drawers, pair cabinet doors below wi...

Cercle of Juan Martinez Montañés (1568-1649) Infant St John the Baptist Spanish, 17th century H 74 cm Saint John the Baptist is here represented naked, sitting on a rock, with...

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...

Set of cushions made with pieces of tapestry, borders and chasubles.  

Pair of beautifully carved wooden chairs Lombardy, first half of 17th century H 86 x L 48 x P 43 cm Pair of “da balia” (nanny) chairs. The backrest is decorated with winged myt...

Shipping policy No additional costs will be added to this order. Shipping costs will be totally covered by the seller (customs duties included). The large cylindrical straight-side...

Elegant cradle from the Italian Renaissance in walnut from the 17th century Beautiful decorative and original piece in superb condition Beautiful patina

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...

Cross pendant in gold and diamonds 17th Century in chiseled gold, representing Our Lady of the Conception, decorated on the reverse with Jesus Christ, studded with pink cut diamo...

Marble lion white marble France, probably Périgord, 17th century Small marble lion wearing a coat of arms pendant with the engraved date, ...

These fireplace chenets are a wonderful example of French “haute epoque” iron work. They are estimated to have been created in the early 16th century. The artistic nature and high qu...

16th Century Period Renaissance Tuscan Walnut Credenzino Italian 16th/17th century Renaissance walnut small Credenza with a rectangular top above a single drawer centered over a s...

Armchair with arms of the seventeenth century in walnut covered with striped velvet. Good condition of tapestry. Some grafts and old restorations. Dimension height 90 cm for a width ...

18th century Italian painting on canvas. Dimensions: 27.75" H x 38.25" W x 3" D.

Leandro Bassano (Bassano del Grappa 1557 - Venise 1662) Portrait of a savant Venise, XVI century Oil on canvas; modern frame. Measures: 117 x 88 ...

Charles I carved oak table having a planked top, the front and side rails carved with alternating leaf guilloche, on baluster ring turned legs, united by thick plain stretchers.

Fabulous hand carved armchair with Figures carved on each arm post. Detailed and all mortise and tenon construction with wood pegs locking it tightly together. Flat back panel with a...

Brazier. Copper. Possibly Castile, 16th century. Brazier made of copper with a circular foot decorated with vertical bands, a low tubular shaft enhanced with a fine roped molding and a semicircular body, with a wide mouth that flares outwards, and two halfrectangle-shaped metal handles with a torso part on the sides. Of the piece. These types of pieces were used both in civil and ecclesiastical interiors with the aim of heating the occupants of the room as much as possible, and their conservation is rare because they are utilitarian elements that were discarded over time or due to be damaged They used to be objects destined for the upper class, and followed the same typologies whether they were destined for a sacristy or a private residence. This case, possibly intended for use in the sacristy, shows a typical typology in the Spanish school of the time. Compare, for example, with the brazier present in The Birth of the Virgin Mary of the Altarpiece assembled around 1520 by Pedro de Guadalupe from Valladolid and found in the church of San Esteban...

Small cabinet by L’ecole De Fontainebleau Incrusted with marble tablets Origin : VAL-DE-LOIRE, France Period : 16th century Measures: Height : 170...

The top of three fully-cleated boards, the two leaves of similar construction, all frieze rails carved with lunettes, raised on large plain bulbous 'cup-and-cover' turned legs, joine...

Italian Renaissance sacristy cabinet / buffet in walnut early 17th century probably from Venice Superb and rare sacristy credenza composed of 10 drawers and two doors. T he large dra...

Elegant crucifix in bronze from the 17th century - Spain Beautiful turning and good quality Very nice patina and in superb condition.  

This highly decorative, folio botanical engraving from Abraham Munting's "Naauwkeurige Beschryving der Aardgewassen." Exquisite hand colour. The work was published by Pieter va...

During the first half of the seventeenth century chairs evolve towards a new model today known as Louis XIII foreshadowing the armchair. Chairs adopt a widen and lower silhouette. Horizontal lines prevail. Cushions disappear supplanted by horse hair upholstery. This chair stands on four feet linked by an H-shaped spacer and a frontal cross-bar. Legs, spacers, cross-bar and arm-rests are all turned as rosary beads...

A Flemish armorial tapestry. Late 16th century, possibly Spanish Woven in wools, depicting the arms of the Abbasid dynasty, combined with those of ...

Considered Solomons columns from his temple. With corinthian capitols and spiral fluted columnar support. Plinth base.

What a wonderful piece, full of character with the ornaments at the base and the putties carved in the wood.

A very rare - finest quality - mid 16th century Italian Renaissance engraving (after Raphael) by an anonymous pupil of MARCANTONIO RAIMONDI (1480-...

A wonderfully rustic early Italian hand carved cassone with egg and dart moulded frame, time-softened wood and solid panels on the front and sides. Although this chest has suffered w...

Important - 16th century - grand scale - museum quality - Renaissance period - antique Flemish finely woven grotesque tapestry panel in wool and silk - after designs by PERINO DEL VA...

We are delighted to offer for sale this original early 17th century Charles I Wainscot armchair. A good early original piece, hand carved, very naïve but at the time this would ha...