Renaissance Furniture

Italian Renaissance painted pine life size figure of religious scholar holding book (17/18th Cent) Replacement finger

A rare pair of late-Renaissance, Italian, upholstered, walnut, throne, open, armchairs or coppia di seggioloni, retaining their original armorials These throne armchairs are characteristic of those found in Palazzo's in the Renaissance. They are elegant and substantial, injecting gravitas into the period or contemporary interior. It is exceptionally rare feature that they retain the original armorials with Ducal coronets which are beautifully worked in gold threadwork. One bears three fleurs-de-lys above three swords and the other a lion rampant. They are sturdy and usable and have a wonderful, lustrous, rich patina. The rectangular backs and seats re-upholstered in a c.1920 mohair...

Nice carved wooden chest from the Renaissance period, late 16th early 17th century. The lower part is decorated with a carved frieze composed of g...

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 relief of folded cloths was common in the Gothic furniture, coming from Flanders in the 15th century and used in Spain in a common way well into the 16th century, although 17th c...

Large apothecary's ivory mortar Indo-Portuguese 17th century 16,7 x 10,4 cm Cites certificate number 2022/BE01446/CE

French Henry II Deux-Corps cabinet, in two parts. Of linear design and interesting, unusual proportions, the top part with two-doors over two drawers, bottom with two larger drawers ...

This type of elements are basic in churches, chapels, etc. since they contain the Sacred Forms, reason why it is logical the abundance, with a series of typologies more habitual and traditional or old than others. There are also iconographies more common than others, a certain thematic preference according to the date or school to which the work belongs, etc., always related to the Sacrifice of Christ, Salvation, Transubstantiation, Eucharist, etc. for being a key element for Christianity (especially the Catholic) what they will always contain. The present work shows a chalice with Sacred Form in what would originally be the interior of the door (very usual iconography) and a somewhat more striking relief to the exterior. Inside that it is a Eucharistic Christ or Eucharistic Savior, the way of presenting it is more usual of the scenes of the Last Supper, being not so frequent to find it alone like this. Compare for example with works such as the door of the tabernacle attributed to Alonso Cano...

18th Century Portuguese Dresser in vignette wood, Brazilian rosewood frames and satinwood inlays. With 3 drawers, 3 drawers and drying rack. Wavy and scalloped top, decorated with a...

superb table or consolde in walnut of the Spanish renaissance with a drawer in its center of the 17th century Original irons and lock very nice work on the drawer Superb patin...

Paper holder bronze, 16th century. Bronze paper holder with a flat curved handle on the back that features a relief decoration organized in the front through an architectural composition with a classical influence usual in the Renaissance. Under the columns on the sides there are two heraldic shields (without bonnet, laces with tassels on three levels) with a Latin cross in the middle zone; the center shows a birth of Christ under a winged dome with heads of winged angels in the corners; at the top and under a semi-circular arch, the bust of Saint Dominic...

Friar armchair. Walnut wood, textile, metal. Spain, 16th century. Has defects. Armchair with arms and high back of the type known as “frailero”, which has a textile upholstery with...

With old finish. Rectangular top with molded edge over a frieze with mounted corbels and a false drawer over a pair of cabinet doors with original handles all flanked by mask and flo...

2 Similar Italian Renaissance style (17th Cent) walnut 3 legged sgabelli Stool with stretcher and "V" cutout in back. (PRICED EACH)

Important 17th-century wrought iron chest from Nuremberg. Good original condition. Height: 39 cm. Dimensions: 67 x 37 cm.

Three-part plainchant polyphonic manuscript of the Nicene Creed probably originating in Spain in the late 16th or early 17th century. This large format manuscript written on paper wa...

English Renaissance-style (17/18th Century) oak console table with 2 banded inlaid drawers and supported on turned legs with a box form stretcher.

History and Style The 17th-century studded leather carriage case represents a timeless piece of history. Used in centuries past as a trunk on carriages, today it adds a touch of vint...

Small size cross Lorraine table with a strong sculptural presence, the carved frieze containing one-drawer, the seven turned legs connected by a Cross-Lorraine shaped base, beautiful...

Holy Bishop sculpture 18th century Portuguese sculpture, from the 18th century. in upholstered, polychrome and gilded wood. Fingers flaws. faults and defects, Measure: Height:...

This solid oak carved chest was made in the Netherlands during the Renaissance period. It was made in the finest quality oak and high quality carving. The carvings are deep and met...

PORTUGUESE ROSEWOOD WALL MIRROR 18th century MIRROR D. MARY Portuguese18th Century, rosewood wood frame with gold carvings. Defects. Dim.: 75 x 36 cm.

IMPORTANT PORTUGUESE COMMODE D. JOÃO V 18th Century in rosewood wood, with three drawers and three large drawers. Wavy body, with cut skirts, decorated with shells, windings and pl...

Bench rare European carvings 18th century rare Europe. A very rare bench made during 18th century in Europe. A few parts have been restored.  

Reliefs with heads of angels. Polychrome and gilded wood. Spanish school, 16th century. Pair of rectangular boards with a hanging ring on the back that present, on the front, two de...

Rare late 15th or early 16th century Mudejar tile of the so-called ‘Arista’ or 'cuerda seca' technique. The central motif is an eight-pointed star, which in turn encloses smaller on...

Spanish Renaissance-style (17th Century) walnut octagonal top end table with wrought iron pedestal base.

This colorful antique "encoignure" was created in Italy, circa 1780. The corner cabinet which can also hang on a wall, depicts a painted biblical scene of the presentation of John the Baptist's head to Salome in front of the temple (Matthew:14) in a Renaissance style. The beheading of Saint John...

lovely little chest of drawers in walnut from the Italian Renaissance - 17th century Very beautiful chest of drawers made up of 4 drawers. They each have their original locks which ...

STATIONERY D. JOSÉ 18th Century 19th century Portuguese. in chestnut wood, with two drawers and three drawers. Folding lid with drawers and bins. Signs of use. Dim.: 140 x 115 x ...

Bronze salamander Italy, 17th century Patinated bronze 4 x 17 x 10 cm This finely cast bronze salamander exemplifies the 17th-century fascination with naturalistic forms and animal ...

16th century Spanish Moorish tile of the so-called ‘Arista’ technique. Good condition; some chipping to the edges, some wear to the glaze. No restorations

Renaissance relief depicting two female figures dressed in a chiton Italy, probably Rome, 16th century Marble, wooden frame (provenance label on the back) 28 x 20 x 5 cm This beau...

Renaissance armchair out of walnut, seat and backrest are covered with a brown leather and riveted. The chair stands on straight square legs that are connected on each side. The stra...

This marble fountain sculpture in the style of Tulio Lombardo embodies the glory of Renaissance sculpture. Reminiscent of classical portrait busts, a bearded man's face serves as the...

An exceptionally rare, late-Renaissance, Florentine, walnut, writing cabinet, scrittoio, escritoire or desk in two parts This striking, writing cabinet has a classical form, ornam...

large 17th century turned apothecary's ivory mortar and pestle Germany 17th century Cites certificate number IT/CE/2023/MI/01110 18,6 x 7 cm ; pestl...

AN EXCEPTIONAL MUSEUM QUALITY, ITALIAN, RENAISANCE WALNUT CASSETTONE WITH A FITTED BUREAU IN THE UPPER PART & EXCEPTIONAL BAMBOCCI CARVING, LOMBARDY - This exceptionally rare, museum quality, piece of early furniture was conceived and crafted as an artwork of the finest quality of its time. Throughout time it has been a luxurious, statement piece which has protected it, and fortunately it has survived in virtually, original condition. - This magnificent cassettone exudes the character and quality of the finest, late-Renaissance furniture. Northern Italian Renaissance furniture often had the sides, legs or angles, 'a Bambocci', incorporating carved figures which were considered unique sculptures in their own right. - The putti on this cassettone are beautifully carved and of sculptural quality. Each angel has one arm raised to heaven, a poignant touch. - The lion’s paw feet are a classical feature and make a great statement. - This cassettone was conceived to have visual impact through the quality of the carving, as well as being very practical with the writing compartment fitted in the top part. - It has survived in very original condition with a few small repairs and losses, and the colour and patina are warm and lustrous. - This cassettone is illustrated Illustrated in C. Alberici, Il Mobile Lombardo, Milan, 1969, p. 45, one of the seminal works on Lombardy furniture, and has been in two renowned collections. The hinged top in two sections faced with a solid moulded edge. The front part has a fall front and opens to reveal a writing compartment. The fall front retains its original lock and is concealed with a false drawer which is above three drawers. All with moulded panels, escutcheons and retaining the original iron handles. The front ends have exceptional, bambocci, carved putti raising their arms to heaven above trailing foliage. Standing on magnificent lion's-head carved feet. The sides are panelled. Exceptional original colour and patina. Literature : Illustrated in C. Alberici, Il Mobile Lombardo, Milan, 1969, p. 45. A Gonzalez-Palacois, Il mobile in Liguria, Genova, 1996 illustrates related pieces Measures: Length 147 ½ cm. 58 in, height 104 cm. 41 in, depth 75 cm. 29½ in, Provenance: Coll. Private Azzate The Collection of Sandro and Lidia Orsi, Ca’ Mera, Varese. Regarded as one of the most beautiful homes in Lombardy, Ca’ Mera, the country house of Sandro and Lidia Orsi was filled with beautiful objects from many different epochs. A renowned antiquarian from Milan, over his lifetime Sandro and his wife Lidia revived the Renaissance and Baroque character of the house and instilled their own unique vision into the interiors, which culminated with the creation of a Kunst – or Wunderkammer. “I have never seen such an example of poetical taste”, Sir John Pope...

Our lady with child Jesus savior of the world 17th century Portuguese sculpture in polychrome and gilded wood. Repaints. Height: 71 cm very g...

Rare Bronzes Depicting two Figures in Turkish Attire Possibly Suleiman the Magnificent at two different ages bronzes, alabaster bases Venice, early 17th century 19,5 x 6 x 5 cm These two rare bronze statuettes represent two figures dressed in elaborate "Turkish" attire. They are mounted on alabaster bases with bronze reliefs—one featuring the winged lion of Venice, and the other possibly symbolizing Turkey with a wolf depiction. One figure wears a grand külah, a spherical turban with a cone top, signifying royal authority, while the other has a wrapped turban, denoting rank and religious identity. Their garments are richly detailed with intricate engravings, suggesting luxurious fabrics of the Ottoman court. The statuettes may represent Suleiman the Magnificent at two different stages of life, as both young and old. The sultan depicted alongside the winged lion corresponds to a description from a Venetian delegate in 1534, when Suleiman was 43. At that time, he had conquered Iraq from the Safavids and achieved a decisive victory over the Papal fleet at the Battle of Preveza. He was described as having large eyes, an aquiline nose, and long red mustaches—traits visible in Cristofano dell'Altissimo’s portrait of Suleiman in the Uffizi Gallery in Florence. Unlike Mehmed II, who commissioned portraits by European artists for diplomatic purposes, Suleiman did not directly order such representations. Instead, his likeness spread through works by artists like Albrecht Dürer, based on sketches made by diplomats. Following his capture of Belgrade in 1521, his victory over Hungary in 1526, and his siege of Vienna...

PORTUGUESE CHEST WITH TWO DRAWERS 18th Century in vignette wood with rosewood frames. Gold metal hardware. Dim.: 82 x 122 x 60 cm good conditions

Saint John the Baptist 18th century Portuguese sculpture from the 18th century. in polychrome wood. The figure is represented standing with the lamb. Small flaws. Measure: ...

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...

An extremely handsome and finely detailed French late 17th century Renaissance st. Walnut dining table. This beautiful table with its original extensions has a richly carved central ...

Antique Marquetry Inlaid Scenic Tarsia Panel of Raffigurante "Il Carro Dell'Aurora"

This is an exceptional original drawing by world famous Camillo Procaccini (born in the Renaissance era in 1561 in Parma and died in Milan in 1629,...

Rare gilded wooden frame qualified by a polychrome painted metal band with tiny foliage ornaments. Silver metal sconces chiselled with cherub heads between scrolls. Rome, 17th Two co...

A striking and unique French early 18th century Renaissance st. Wrought Iron lutrin/music stand. The two piece lectern is raised by a handsome tripod base with large scrolled feet le...

Elegant Spanish Renaissance armchair from the early 17th century in walnut with a high back claw feet Very beautiful seat with a beauti...

This work likely Italian dates from circa 1680-1700. It relates directly to a 16th century engraving of the same subject after a drawing by Giul...

Royal House Antiques Royal House Antiques is delighted to offer for sale this very rare and important pair of original French Renaissance period serving tables, they are 17th centur...

Wonderful images of renaissance busts Copper-plate engravings Published by Monaldini, Rome, 1776 Good quality wove paper Free shipping  

This pair of carved Italian walnut chairs were made in the 18th century copying a 16th-century form. All the members are cut from large heavy walnut timber with a nice rich warm mell...

Base of a carved wooden candelabrum, polychrome and gilded; cross painted on both sides. Umbria or Tuscany, 16th century 136 x 43,5 x 30 cm (The cross and the base of the candelabrum were later assembled) The base of the candelabrum is intricately carved and adorned with polychrome and gilded finishes. The shafts take on the shape of balusters reminiscent of ancient columns, feature ornate foliage decorations, garlands and winged cherub faces. The feet are crafted in the likeness of lion paws. The base is further embellished with depictions of four saint martyrs, among them Saint Barbara and Saint Catherine of Alexandria. The plasticity of the figures, outlined with strong contour lines, the clear and vibrant colors, are stylistic elements linked to the Umbrian tradition of the sixteenth century.The precisely defined and elegant drawing, along with the clear color palette applied with refined chiaroscuro modulations, became the signature of a style that would leave a lasting mark on the era to come. This is exemplified by a preference for vibrant, multicolored images, accentuated in this case by the use of red and pink in the saint's attire. A notable addition, introduced later, is a polylobed cross painted on both sides. On one side, the Crucifixion is vividly portrayed:The treatment of the corpus itself is in line with High Medieval practice, emphasizing pathos by showing Jesus dead, his arms sagging from the weight of the body. The upper section displaying a pelican pecks at her breast to feed her young with her own blood; a symbol of the sacrifice of Christ on the cross whose body and blood similarly nourishes the celebrant during Mass. The lower part depicts Golgotha. On the reverse side, the Resurrection is artistically presented in a Renaissance iconography, reminiscent of the renowned composition painted by Piero della Francesca, now housed in the Civic Museum of Sansepolcro. In terms of composition, with the frontal depiction of Christ holding the banner, this motif became particularly widespread in central Italy, spanning from Tuscany to Umbria throughout the 16th century.. The double-sided construction suggests that it may also have been carried in liturgical processions. In Umbria from the 14th century, the use of portable crosses painted on both sides had become a widespread practice, aimed at satisfying the monastic clientele that had significantly increased following the establishment of new religious communities. The earliest surviving Tuscan painted crucifix represent Christ as Christus Triumphans, or the “Triumphant Christ” with his head up and eyes open. This form was supplanted in the 13th century with the Christus Patiens, or “Suffering Christ” type who is shown often with his head fallen on his shoulder and his eyes closed, as In our cross. The iconography of the suffering Christ appears to have developed out of a new interest in Christ’s human nature, the development of the feast of Corpus Christi and with increased importance given to the Eucharist. The process of humanizing the figure of Christ reaches its peak with the abandonment of all the previous expressive conventions in favor of more realistic details we can observe in this Crucifix, such as the swollen belly, the arms stretched to the limit of muscle tearing, the body falling heavily forward, the abundant blood on the wounds, and the cross firmly embedded in the rock of Calvary. It's worth noting that Renaissance candelabra...

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 ...

18th Century French Renaissance Cabinet with Carrara Marble will make a great addition to any efficient floor plan! Crafted from solid old-growth chestnut, it features a neoclassica...

Wonderful copper-plate engraving after Jan Luyken Published by Marten Schagen, Amsterdam. 1724 Text on verso The measurement given is the paper size.

On offer here is a very rare Dutch cabinet made of the finest European summer oak in the tradition of the Dutch Renaissance during the “Dutch Golden...