Hand-Carved Furniture

A Fine Italian 19th Century Oil Painting on Canvas "La Madonna della Seggiola" after Raphael (Raffaello Sanzio da Urbino 1483-1520). The circular painted canvas depicting a seated Madonna holding an infant Jesus Christ next to a child Saint John the Baptist, all within a massive carved gilt wood and gesso frame, which is identical to the frame on Raphael's original artwork. This painting is a 19th Century copy of Raphael's Madonna della Seggiola painted in 1514 and currently exhibited and part of the permanent collection at the Palazzo Pitti, Galleria Palatina, Florence, Italy. The bodies of the Virgin, Christ, and the boy Baptist fill the whole picture. The tender, natural looking embrace of the Mother and Child, and the harmonious grouping of the figures in the round, have made this one of Raphael's most popular Madonnas. The isolated chair leg is reminiscent of papal furniture, which has led to the assumption that Leo X himself commissioned the painting. A retailer's label reads " Fred K/ Keer's Sons - Framers and Fine Art Dealers - 917 Broad St. Newark, N.J." - Another label from the gilder reads "Carlo Bartolini - Doratore e Verniciatori - Via Maggio 1924 - Firenze". Circa: 1890-1900. Subject: Religious painting Canvas diameter: 28 inches (71.1 cm) Frame height: 54 inches (137.2 cm) Frame width: 42 1/2 inches (108 cm) Frame depth: 5 1/2 inches (14 cm) Raffaello Sanzio da Urbino (Italian, March 28 or April 6, 1483 - April 6, 1520), known as Raphael, was an Italian painter and architect of the High Renaissance. His work is admired for its clarity of form, ease of composition, and visual achievement of the Neoplatonic ideal of human grandeur. Together with Michelangelo and Leonardo da Vinci, he forms the traditional trinity of great masters of that period. Raphael was enormously productive, running an unusually large workshop and, despite his death at 37, leaving a large body of work. Many of his works are found in the Vatican Palace, where the frescoed Raphael Rooms were the central, and the largest, work of his career. The best known work is The School of Athens in the Vatican Stanza della Segnatura. After his early years in Rome much of his work was executed by his workshop from his drawings, with considerable loss of quality. He was extremely influential in his lifetime, though outside Rome his work was mostly known from his collaborative printmaking. After his death, the influence of his great rival Michelangelo was more widespread until the 18th and 19th centuries, when Raphael's more serene and harmonious qualities were again regarded as the highest models. His career falls naturally into three phases and three styles, first described by Giorgio Vasari: his early years in Umbria, then a period of about four years (1504–1508) absorbing the artistic traditions of Florence, followed by his last hectic and triumphant twelve years in Rome, working for two Popes and their close associates. Raphael was born in the small but artistically significant central Italian city of Urbino in the Marche region, where his father Giovanni Santi was court painter to the Duke. The reputation of the court had been established by Federico III da Montefeltro, a highly successful condottiere who had been created Duke of Urbino by the Pope - Urbino formed part of the Papal States - and who died the year before Raphael was born. The emphasis of Federico's court was rather more literary than artistic, but Giovanni Santi was a poet of sorts as well as a painter, and had written a rhymed chronicle of the life of Federico, and both wrote the texts and produced the decor for masque-like court entertainments. His poem to Federico shows him as keen to show awareness of the most advanced North Italian painters, and Early Netherlandish artists as well. In the very small court of Urbino he was probably more integrated into the central circle of the ruling family than most court painters. Federico was succeeded by his son Guidobaldo da Montefeltro, who married Elisabetta Gonzaga, daughter of the ruler of Mantua, the most brilliant of the smaller Italian courts for both music and the visual arts. Under them, the court continued as a centre for literary culture. Growing up in the circle of this small court gave Raphael the excellent manners and social skills stressed by Vasari. Court life in Urbino at just after this period was to become set as the model of the virtues of the Italian humanist court through Baldassare Castiglione's depiction of it in his classic work The Book of the Courtier, published in 1528. Castiglione moved to Urbino in 1504, when Raphael was no longer based there but frequently visited, and they became good friends. He became close to other regular visitors to the court: Pietro Bibbiena and Pietro Bembo, both later cardinals, were already becoming well known as writers, and would be in Rome during Raphael's period there. Raphael mixed easily in the highest circles throughout his life, one of the factors that tended to give a misleading impression of effortlessness to his career. He did not receive a full humanistic education however; it is unclear how easily he read Latin. Early Life and Works His mother Màgia died in 1491 when Raphael was eight, followed on August 1, 1494 by his father, who had already remarried. Raphael was thus orphaned at eleven; his formal guardian became his only paternal uncle Bartolomeo, a priest, who subsequently engaged in litigation with his stepmother. He probably continued to live with his stepmother when not staying as an apprentice with a master. He had already shown talent, according to Vasari, who says that Raphael had been "a great help to his father". A self-portrait drawing from his teenage years shows his precocity. His father's workshop continued and, probably together with his stepmother, Raphael evidently played a part in managing it from a very early age. In Urbino, he came into contact with the works of Paolo Uccello, previously the court painter (d. 1475), and Luca Signorelli, who until 1498 was based in nearby Città di Castello. According to Vasari, his father placed him in the workshop of the Umbrian master Pietro Perugino as an apprentice "despite the tears of his mother". The evidence of an apprenticeship comes only from Vasari and another source, and has been disputed—eight was very early for an apprenticeship to begin. An alternative theory is that he received at least some training from Timoteo Viti, who acted as court painter in Urbino from 1495.Most modern historians agree that Raphael at least worked as an assistant to Perugino from around 1500; the influence of Perugino on Raphael's early work is very clear: "probably no other pupil of genius has ever absorbed so much of his master's teaching as Raphael did", according to Wölfflin. Vasari wrote that it was impossible to distinguish between their hands at this period, but many modern art historians claim to do better and detect his hand in specific areas of works by Perugino or his workshop. Apart from stylistic closeness, their techniques are very similar as well, for example having paint applied thickly, using an oil varnish medium, in shadows and darker garments, but very thinly on flesh areas. An excess of resin in the varnish often causes cracking of areas of paint in the works of both masters. The Perugino workshop was active in both Perugia and Florence, perhaps maintaining two permanent branches. Raphael is described as a "master", that is to say fully trained, in December 1500. His first documented work was the Baronci altarpiece for the church of Saint Nicholas of Tolentino in Città di Castello, a town halfway between Perugia and Urbino. Evangelista da Pian di Meleto, who had worked for his father, was also named in the commission. It was commissioned in 1500 and finished in 1501; now only some cut sections and a preparatory drawing remain. In the following years he painted works for other churches there, including the Mond Crucifixion (about 1503) and the Brera Wedding of the Virgin (1504), and for Perugia, such as the Oddi Altarpiece. He very probably also visited Florence in this period. These are large works, some in fresco, where Raphael confidently marshals his compositions in the somewhat static style of Perugino. He also painted many small and exquisite cabinet paintings in these years, probably mostly for the connoisseurs in the Urbino court, like the Three Graces and St. Michael, and he began to paint Madonnas and portraits. In 1502 he went to Siena at the invitation of another pupil of Perugino, Pinturicchio, "being a friend of Raphael and knowing him to be a draughtsman of the highest quality" to help with the cartoons, and very likely the designs, for a fresco series in the Piccolomini Library in Siena Cathedral. He was evidently already much in demand even at this early stage in his career. Influence of Florence Raphael led a "nomadic" life, working in various centres in Northern Italy, but spent a good deal of time in Florence, perhaps from about 1504. Although there is traditional reference to a "Florentine period...

Sculptural large pair of antique Baroque Style Acanthus leaf sconces, Germany or Italy around 1900 to 1920. The expressive and vividly hand-carved...

A marvelous and impressive pair of Russian crystal & ormolu mounted three-light lantern chandeliers. A pair of Russian neoclassical style lantern chand...

Presented here is an exquisite marble mantel sourced from room 1163 of the renowned Plaza Hotel in New York City. Crafted from premium marble, this remarkable piece showcases intrica...

A large and graceful carved nephrite jade conjoined double vase in the form of a pair of Buddha's hands fruit (finger citron), late Qing Dynasty, circa 1900, China. The large and heavy vase carved from a single piece of celadon nephrite jade, with areas of lighter brown "sugar" skin. The vase ingeniously carved as a pair of Buddha's hand fruit, also known as finger citron, rising from a gnarled, leafy branch. The smaller Buddha's hand with a pair of bats. The Buddha's hands fruit with elegant and naturalistic curved "fingers". The "fingers wonderfully shaped and reticulated. The body of the fruit with simple stippling, in imitation of the textured surface of the real fruit. The interior of each fruit well hollowed and able to hold water. Buddha's hands fruit are auspicious in Chinese culture. Their name in Chinese "Fo Shou" is a homophone for "Happiness and Longevity. They are often placed as offerings on Buddhist altars...

A beautiful walnut oval side table with a rich patina. Table features a drawer, marble top, gilded bronze pierced gallery, lock, key and sabots.

An attractive and esoteric Japanese carved and gilt wood figure of Fukukenjaku Kannon, Amoghapasa, Meiji period or earlier, Japan. Fukukenjaku Kannon is portrayed in an usual six...

A very good quality 18th Century Georgian style Mahogany Gainsborough arm chair, having wonderful classical scrolling foliate, lattice work and floral carved decoration to the show wood, raised on square section legs also with carved decoration. Stuff over upholstered back and seat with brass studding. A copy of the St. Giles House chairs, made by William Vile...

A skillfully hand carved figurine of a running Greyhound or Whippet. Beautiful details and a rich golden patina to the oak. Made by an anonymous craftsman in Scandinavia circa 1900-2...

A large Chinese four-fold hardwood screen inset with blue and white porcelain plaques. The hand carved wood frame is a very dense and naturally rich and dark hardwood from China with...

Circa 1900 oak bookcase from England. The top has a beveled edge, following down to simple sides and hand carving on the front of the case and front of the shelves. There are three stationary shelves, overt lower doors, which open to reveal storage. Lovely quality and size. Lovely quality and size. Attributed to Titchmarsh and Goodwin...

An Unusual 20th Century Italian Silvered Bronze Mounted Clear-Over-red crystal box The box is composed of two sections of Italian clear-over-red crysta...

A charming handmade wooden toy horse rocker. Very sturdy for children. Sweden, circa 1900 Surprising pieces and objects, authentic, decorative and rare...

Imposing chandelier / suspension / pendant in oak, composed of 3 branches with at the end of each a jester / buffoon holding a lantern. The branches are joined by a turned wooden baluster...

Lovely antique French cigar box / cigarette cabinet from 1900. with various inlaid woods. Gorgeous craftsmanship The cabinet is decorated with lan...

A Fine Italian 19th Century Oil Painting on Canvas "La Madonna della Seggiola" after Raphael (Raffaello Sanzio da Urbino 1483-1520). The circular painted canvas depicting a seated Madonna holding an infant Jesus Christ next to a child Saint John the Baptist, all within a massive carved two-tone gilt wood, gilt-patinated and gesso frame, which is identical to the frame on Raphael's original artwork. This painting is a 19th Century copy of Raphael's Madonna della Seggiola painted in 1514 and currently exhibited and part of the permanent collection at the Palazzo Pitti, Galleria Palatina, Florence, Italy. The bodies of the Virgin, Christ, and the boy Baptist fill the whole picture. The tender, natural looking embrace of the Mother and Child, and the harmonious grouping of the figures in the round, have made this one of Raphael's most popular Madonnas. The isolated chair leg is reminiscent of papal furniture, which has led to the assumption that Leo X himself commissioned the painting. Circa: 1890-1900. Subject: Religious painting Painting diameter: 28 inches (71.1 cm) Frame height: 55 1/8 inches (140 cm) Frame width: 46 inches (116.8 cm) Frame depth: 5 1/8 inches (13 cm) Raffaello Sanzio da Urbino (Italian, March 28 or April 6, 1483 - April 6, 1520), known as Raphael, was an Italian painter and architect of the High Renaissance. His work is admired for its clarity of form, ease of composition, and visual achievement of the Neoplatonic ideal of human grandeur. Together with Michelangelo and Leonardo da Vinci, he forms the traditional trinity of great masters of that period. Raphael was enormously productive, running an unusually large workshop and, despite his death at 37, leaving a large body of work. Many of his works are found in the Vatican Palace, where the frescoed Raphael Rooms were the central, and the largest, work of his career. The best known work is The School of Athens in the Vatican Stanza della Segnatura. After his early years in Rome much of his work was executed by his workshop from his drawings, with considerable loss of quality. He was extremely influential in his lifetime, though outside Rome his work was mostly known from his collaborative printmaking. After his death, the influence of his great rival Michelangelo was more widespread until the 18th and 19th centuries, when Raphael's more serene and harmonious qualities were again regarded as the highest models. His career falls naturally into three phases and three styles, first described by Giorgio Vasari: his early years in Umbria, then a period of about four years (1504–1508) absorbing the artistic traditions of Florence, followed by his last hectic and triumphant twelve years in Rome, working for two Popes and their close associates. Raphael was born in the small but artistically significant central Italian city of Urbino in the Marche region, where his father Giovanni Santi was court painter to the Duke. The reputation of the court had been established by Federico III da Montefeltro, a highly successful condottiere who had been created Duke of Urbino by the Pope - Urbino formed part of the Papal States - and who died the year before Raphael was born. The emphasis of Federico's court was rather more literary than artistic, but Giovanni Santi was a poet of sorts as well as a painter, and had written a rhymed chronicle of the life of Federico, and both wrote the texts and produced the decor for masque-like court entertainments. His poem to Federico shows him as keen to show awareness of the most advanced North Italian painters, and Early Netherlandish artists as well. In the very small court of Urbino he was probably more integrated into the central circle of the ruling family than most court painters. Federico was succeeded by his son Guidobaldo da Montefeltro, who married Elisabetta Gonzaga, daughter of the ruler of Mantua, the most brilliant of the smaller Italian courts for both music and the visual arts. Under them, the court continued as a centre for literary culture. Growing up in the circle of this small court gave Raphael the excellent manners and social skills stressed by Vasari. Court life in Urbino at just after this period was to become set as the model of the virtues of the Italian humanist court through Baldassare Castiglione's depiction of it in his classic work The Book of the Courtier, published in 1528. Castiglione moved to Urbino in 1504, when Raphael was no longer based there but frequently visited, and they became good friends. He became close to other regular visitors to the court: Pietro Bibbiena and Pietro Bembo, both later cardinals, were already becoming well known as writers, and would be in Rome during Raphael's period there. Raphael mixed easily in the highest circles throughout his life, one of the factors that tended to give a misleading impression of effortlessness to his career. He did not receive a full humanistic education however; it is unclear how easily he read Latin. Early Life and Works His mother Màgia died in 1491 when Raphael was eight, followed on August 1, 1494 by his father, who had already remarried. Raphael was thus orphaned at eleven; his formal guardian became his only paternal uncle Bartolomeo, a priest, who subsequently engaged in litigation with his stepmother. He probably continued to live with his stepmother when not staying as an apprentice with a master. He had already shown talent, according to Vasari, who says that Raphael had been "a great help to his father". A self-portrait drawing from his teenage years shows his precocity. His father's workshop continued and, probably together with his stepmother, Raphael evidently played a part in managing it from a very early age. In Urbino, he came into contact with the works of Paolo Uccello, previously the court painter (d. 1475), and Luca Signorelli, who until 1498 was based in nearby Città di Castello. According to Vasari, his father placed him in the workshop of the Umbrian master Pietro Perugino as an apprentice "despite the tears of his mother". The evidence of an apprenticeship comes only from Vasari and another source, and has been disputed—eight was very early for an apprenticeship to begin. An alternative theory is that he received at least some training from Timoteo Viti, who acted as court painter in Urbino from 1495.Most modern historians agree that Raphael at least worked as an assistant to Perugino from around 1500; the influence of Perugino on Raphael's early work is very clear: "probably no other pupil of genius has ever absorbed so much of his master's teaching as Raphael did", according to Wölfflin. Vasari wrote that it was impossible to distinguish between their hands at this period, but many modern art historians claim to do better and detect his hand in specific areas of works by Perugino or his workshop. Apart from stylistic closeness, their techniques are very similar as well, for example having paint applied thickly, using an oil varnish medium, in shadows and darker garments, but very thinly on flesh areas. An excess of resin in the varnish often causes cracking of areas of paint in the works of both masters. The Perugino workshop was active in both Perugia and Florence, perhaps maintaining two permanent branches. Raphael is described as a "master", that is to say fully trained, in December 1500. His first documented work was the Baronci altarpiece for the church of Saint Nicholas of Tolentino in Città di Castello, a town halfway between Perugia and Urbino. Evangelista da Pian di Meleto, who had worked for his father, was also named in the commission. It was commissioned in 1500 and finished in 1501; now only some cut sections and a preparatory drawing remain. In the following years he painted works for other churches there, including the Mond Crucifixion (about 1503) and the Brera Wedding of the Virgin (1504), and for Perugia, such as the Oddi Altarpiece. He very probably also visited Florence in this period. These are large works, some in fresco, where Raphael confidently marshals his compositions in the somewhat static style of Perugino. He also painted many small and exquisite cabinet paintings in these years, probably mostly for the connoisseurs in the Urbino court, like the Three Graces and St. Michael, and he began to paint Madonnas and portraits. In 1502 he went to Siena at the invitation of another pupil of Perugino, Pinturicchio, "being a friend of Raphael and knowing him to be a draughtsman of the highest quality" to help with the cartoons, and very likely the designs, for a fresco series in the Piccolomini Library in Siena Cathedral. He was evidently already much in demand even at this early stage in his career. Influence of Florence Raphael led a "nomadic" life, working in various centres in Northern Italy, but spent a good deal of time in Florence, perhaps from about 1504. Although there is traditional reference to a "Florentine period...

Dive deep into the world of timeless craftsmanship with our exceptional antique side table, hand-crafted from premium walnut wood. Dating back to the early 1900s, this Baroque-inspir...

Amazing sculpture in patinated bronze terracotta, "Lioness with her lions" by Antoine Amorgasti, born in 1880 in Pisa and died in Antwerp, Belgium in 1942. He studied sculpture at th...

Sculpture Samuraï Puppet Musha Nyngyo A Set of 2 with structure in wood, hand-carved wood, hand-painted wood, hand-lacquered wood, covered with hand-em...

Delve into the charm of early 20th-century French design with our meticulously restored Provincial Dining Table, expertly handcrafted from walnut wood. The antique dining table stand...

Superb large Asian lantern / chandelier / suspension. Structure in solid wood carved with dragons and openwork. Glass plates painted with subjects of women and various flowers. ...

This wonderful lovely piece of furniture is a true eye catcher in an Arts & Crafts or Art Nouveau home! Unusual rare small cabinet c.1900- 1910. Ra...

A fine French 19th-20th century Louis XV style giltwood carved center gall table with marble top. The rectangular shaped frame intricately carved frame with an "X" stretcher centered...

Probably more than likely from a Japanese home altar, this is a folk art rendition of Hachiman Yahata no Kani, Japanese God of War, Archery, Culture and Pro...

Known as an encoignure in France (literally “corner”), this corner buffet was hand-carved in Provence, circa 1900. First seen during the reign of Louis XV, encoignures were light, fu...

Embrace the rich heritage and exquisite craftsmanship of the early 20th century with our vintage Chinese altar console. This piece, haili...

Sculpture Samuraï Puppet Musha Nyngyo B Set of 2 with structure in wood, hand-carved wood, hand-painted wood, hand-lacquered wood, covered with hand-...

Antique Shanxi Province elm scroller leg low table Circa: 1900 Dimensions: H 11.5” W 64” D 15.5” The Antique Shanxi Province Elm Scroller Leg Low Table is a captivating vintage p...

A charming and finely decorated carved and lacquered boxwood netsuke of Hotei by Shunsho (probably Shunsho XI, Masaoki), Meiji period, circa 1900, Japan. This delightful and colorful netsuke features the beloved figure Hotei, one of the Seven Lucky Gods. The god of fortune and happiness is seated upon his treasure bag, and being dragged by a smiling child. Carved from boxwood and decorated in bright lacquers of gold, silver, red, black and green. Hotei's chest and ample stomach mostly exposed, his skin covered in gold lacquer. Large elephantine ears frame his bearded face. His red-lipped mouth open in an uproarious laugh. Hotei's treasure bag formed as a patchwork of various brocades in gold, red, and black lacquer. The black lacquer further decorated in the lac burgaute...

Antique Shanxi Province Elm Opium Bed / Coffee Table Circa: 1900 Dimensions: W: 87.5" D: 39" H: 31" This Antique Shanxi Province Elm Opium Bed / Coffee T...

This box is a real treasure! Completely had carved from walnut the detail in the flowers and leaves is quite remarkable. This box required a real master craftsman to achieve the outs...

Antique Shanxi Province Linen Wrapped Lacquered Elm Kang Style Coffee Table Circa: 1900 Dimensions: W: 50" D: 36" H: 21" The Antique Shanxi Province Linen Wrapped Lacquered Elm K...

Superb jewelry box from France early 1900s made from solid wood with amazing inlaid brass decorations. The jewelry box is richly decorated with brass inlay Comes with original lo...

Circa 1900 French Louis XVI style console table. Measurements: Length: 63" Height: 38" Depth: 17.5".  

Discover the epitome of regal elegance with our antique Louis XV style side table, crafted from rich mahogany wood and meticulously restored by our team of expert craftsmen. This stu...

A pair of 20th century or earlier Chinese hardwood hand carved five-claw dragon mirrors. Each is hand carved with high relief Imperial five-claw dragons flying in the air. They also ...

Hand carved wooden armchair from Mexico, early 20th century. Professionally re-upholstered with a wool bouclè fabrication. Wood with beautiful patina.

Antique Thai teak blue hand painted chofa A teakwood “Chofa” which adorn the end of the roof of most temples in Thailand in the shape of a slender bird a...

Antique Shanxi Province Elm Tall Table This Antique Shanxi Province Tall Table is made out of elm and has its original color and patina. It has a stun...

Antique Shanxi Province Elm Coffee Table with Enforced Rattan Top Circa: 1900 Dimensions: W: 82" D: 42" H: 19.5" The Antique Shanxi Province Elm Coffee Table with Reinforced Ratt...

Set of seven Baroque wood paws. Six paws are setup like a single shelves on the back is a bracket for the wall. One is just a wooden paw. This is a original antique Lion paws. I ca...

Antique Shanxi Province Red Lacquer Elm Side / Dining Chair This beautiful red elm side chair from the Shanxi Province of China can be used as a statement...

Antique Shanxi province elm cabinet with hand carved arpon. This Elmwood cabinet with original color and patina and hardware is from the Shanxi Province of China. It has carving details at the bottom with original lacquer. The cabinet suitable to be used for an elegant storage for clothing, beddings, china and crystal...

A stunning early 20th century French black forest barometer with thermometer, circa 1900. Found in a hunting lodge in Lyon, this antique weather station...

Antique Chinese Elm coffee table with original color and patina This antique Chinese coffee table is hand carved and has all its original c...

Early 20th century hand painted black lacquered wood two piece chinoiserie display cabinet. The cabinet features a removable trunk top with diffe...

We are delighted to offer for sale this lovely circa 1880-1900 burr walnut demi lune games card table with ornately carved legs A very good looking and well made piece, made in th...

Unique walking stick / strolling stick 19th century, bone Antique walking stick made of bone, circa 1900 Solid bone :-). Unique shape with severa...

Early 20th century aunt sally english fairground game. We share what we love, and we love this oversized early 20th Century example of a carved wood Fairground Aunt Sally knock do...

Antique East Indian Teak Wood Square side table with Carved Legs and Apron A unique square table with carving on the apron on three sides, and carving on all 4 legs. It has origin...

Antique Shanxi province tall elm round accent table with animal carvings on Apron This elm, tall, round table with carved apron with animals and car...

Classic early 1900s Black Forest Brienz wood carved Nutcracker in form of a Gnome. Nice addition to your room or just for use it on your desk.

A circa 1900's Spanish colonial style chest. Measurements: Height: 15" length: 32" Depth: 17"

Antique English wood and cork Mallard drake decoy with original paint. Hand crafted in England. Lightweight, with impressionistic shape and form. Circa early 20th century. Tip of...

Antique Shanxi Province elm square side table - pair These rare side tables are from the Shanxi Province of China. They are made of elm and have their original color and patina. ...

1157 Oversized hand carved statue of Okimono of Jurojin (godof langevity) a symbol of long life carved from a solid block of boxwood.

Immerse yourself in the grandeur of the past with our extraordinary antique Louis XVI commode, a masterpiece of craftsmanship and elegance. This exquisite piece, beautifully crafted from a combination of mahogany, marble, and fruitwood veneers, has been professionally restored by our team of expert craftsmen, ensuring it not only retains its historical charm but is also in excellent condition for contemporary use. The commode is crowned with an original marble bevel...

Chinese furniture was first developed as early as the Eastern Zhou period (770B.C. - 221B.C.). "Altar tables" were typically long, narrow tables to display items of wealth and beauty. You will also find areas of burn marks where they used their incense burners. Many years ago, an Englishman who dealt in Chinese antique furniture...