Showing results for "renaissance"

St. Francis of Assisi Italian School, circa 1500 oil paint on copper, unframed copper: 6.75 x 10 inches provenance: private collection, Loire Valley, France condition: for a work tha...

Original lock and key This piece of furniture shows no recess on its upper part. It opens with four folding-doors and two drawers within the belt. The key bears the date 1524 above cross motifs. Burgundy and Lyon regions subordinated themselves to architecture in a different manner than the other french schools. Rather than using particularly columns and pediments pieces of furniture from Lyon borrow architecture’s organization principles and rigorous designs. On the upper body a strong feeling of balance and symmetry appears with the folding doors reliefs. Swags of flowers and fruits held with knot cloth centered by a man seating on his arms. Here profiles, masks and chou de Bourgogne mingle with the structuring scrolls. The two lateral terms wear draperies and the goddess Diana in the center wears a belt of fruits similar to Hugue Sambin’s designs (Termes de Diane et de Venus, 1554, BNF). The two palm-leaves enriched drawers and the alternating scrolls belt balance the weight of the cornice with its alternatings consoles and tops. The lower body is also adorned by three terms with a feminine one in the center, all three are wearing fruits on their heads. The folding doors are centered upon a motif of cut cuirs by a mask in high relief. Wearing a feathered tiara...

The Horizon Book of the Renaissance. Boxed, cloth-covered hardcover book. Published by American Heritage Publishing Co., Inc., of New York in 1961. Printed in the United States of Am...

This chayère chair of beautiful proportions stands on a rectangular box base enriched by vermiculure motifs executed in flat-plane. This base is topped by a moulding of strong gadroo...

A beautiful late 18th century cabinet in the best quality solid oak. This is a typical 'kussenkast' or pillow cabinet. Pillow refers to the shape of the...

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...

Italian Renaissance style (19th Cent) carved wood crucifix on square base with figure

Classical style for this large Majolica jardiniere or table centre signed Minton and dated 1876 cherubs handles and masks on each side of Renaissance Revival. On the middle of 19th c...

Italian Renaissance wedding cassone Origin : Northern Italy, Between Milan And Bologne Period : 15th Century Height : 55 cm Width : 156.5 cm D...

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

Renaissance cabinet from Burgundy Or Lyon Region Origin : Burgundy Or Lyon, France Period : Second Half 16th Century, C. 1580 Height : 209cm Length : 184cm Depth : 71cm Good condition Walnut wood, original keys and keyholes Around the middle of the 16th century the conception and ornamentation of French furniture evolves. The start of major building projects, such as the castle of Fontainebleau, gives artists a new impulse. Inventive and rich formulas are developed there, before spreading to all of Europe thanks to engravings and printed leaflets. Furthermore, Italian artists working on such construction sites bring French artists and patrons a renewed taste for the Antique. Regarding the art of furnitures, the most complex scenes and figures are drawn from illustrated books, ornament and emblem compendiums and engraving compilations. Rather than copying those images the artisans feed their inspiration and decline the motifs in numerous variations. The ornamental grammar marks a return to the Antique : palm leaf, acanthus, egg-and-dart, greek, scroll, fluted pilaster… It is in Primaticcio’s and Il Rosso’s stuccos made around 1540-1550 that we have to look for the origin of leather cut-outs, masks, chimaeras, harpies, sheathed figures, fruit and flower garlands that soon enrich every pieces of French furniture. The structure of the pieces of furniture also evolve thanks to the re discovery of Antique architectures, rigorously used as a model. This cabinet presents an imposing structure and a rich and original decor exemplifying the production of the late 16th century, infused with Italian, Antique and Fontainebleau influences. It stands on a moulded base ornate with palm leaves. It opens with four door-leaves and two drawers in the belt. Six whimsical terms divide the facade. The lower body is horizontally divided by three sheathed female terms. The two standing on the lateral posts are topped with fruits while the body is covered by acanthus leaves carved with precision, belted at the waist. The term standing on the central door-jamb is crowned with laurel leaves and is draped in the Antique fashion. A wincing mask hides the key hole. The two door-leaves are centred by a beautiful mask carved in a strong relief. They wear stylised feathered headdress and are set on draperies. Straps, leather scrolls, acanthus leaves and a shell are spread around the masks. The recessed panels are secured in frames ornate with acanthus leaves. The belt is flanked by two large mouldings enriched with variations of acanthus leaves. The drawers are carved with choux bourguignons and palm leaf motifs minutely executed. The consoles between each drawer bear tormented wincing masks, showing horns as if they were fauns or imps. The upper body is framed by two male terms characterised by a strong and nervous musculature, their manhood hidden by drapes secured thanks to a winged lion head. The term on the left appears to be younger and is wincing while the one on the right has a beard. The central female term brings contrast with her youth and sensuality. As it is the case on the lower body, the key hole is hidden behind the mouth of a faun’s mask placed on the drapes barely covering the intimacy of the caryatid. The panels of the upper body present an idealised architecture comprising pilasters and sinuous broken pediments. The pilasters are flanked by two satyrs with goat legs. In the centre appears an important lion mask. The terms of the upper body support the cornice. The entablature carries palm leaves and roses alternating as well as an egg-and-dart frieze. The cornice is adorned with acanthus motifs. On the sides, the carving is executed flat. A central rose is surrounded by scrolls, flowers and choux bourguignons. We can admire the variety of the elements employed. The artist vary with great genius many different ornamental motifs : palm leaf, egg-and-dart, laurel leaf, roses, scrolls … But the artist went even further as each profile and each face is individualised and presents different features. You can take a look at the faces of the satyrs flanking the upper body’s panels. The talent of the artist is undeniable. It makes no doubt the patron who commissioned this cabinet was an aesthete looking for the greatest quality. The artist who authored this cabinet had a great mastery of composition both in the general design and in the individual panels. They probably drew inspiration from engravings and drawings made especially for the making of this piece of furniture or not. They seem to be familiar with the style of Jacques Androuet du Cerceau. Indeed, we can find in Du Cerceau’s engravings the same juxtapositions of leather cut-outs, masks and fruits. The terms and caryatids used on the facade could very well be inspired by his work as well. The cabinet-maker was also undoubtedly observant of Hugues Sambin, the most famous cabinet-maker and sculptor in the Burgundy of the time. Like Du Cerceau, Sambin left an important ensemble of models particularly useful for the design of cabinets. His publication De l’Oeuvre de la diversité des termes dont on use en architecture (1572) was an essential book for every artisan. All the motifs testify of the artisan’s high knowledge of forms as well as the precision of their tools : super imposition of ornamental elements, foliages, architectural cut-outs, flat and high reliefs alternating, palm leaves inscribed in circular spaces, wincing faces. It is also a testimony of the artisan’s familiarity with Italian and Fontainebleau productions. Because of the proficiency of the cabinet-maker in so many different models, this cabinet truly is a master-piece authored by the hand of an authentic master. The generous carvings executed with great rigour and virtuosity evoke an origin close to Burgundy and Lyon workshops. This cabinet was made by a master of the region during the Second French Renaissance. Literature BOCCADOR Jacqueline, Le mobilier français du Moyen-Âge à la Renaissance, Édition d’art Morelle Mayot, 1996 BOS Agnès (dir.), Mobilier du Moyen âge et de la Renaissance, La collection du musée du Louvre, Louvre éditions...

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...

RENAISSANCE BED in molded walnut with carved oval friezes and corner columns topped with Antique-style vases. The rectangular headboard features a moving pediment adorned with a shel...

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...

The cameo at the center of this exceptional pendant is a stunning example of the art of gem engraving during the Renaissance. It likely dates to the early 17th century and features a sacrificial scene inspired by the Greco-Roman era. The central flaming altar is flanked by two figures preparing to sacrifice a ram, while a figure in a lion skin blowing horns stands in the left corner. The carver brilliantly uses the natural layers of the stone to achieve the illusion of shadow and musculature on the figures. A second, smaller cameo is set at the top of the pendant, while a myriad of multi-colored gems, pearls and enamel adorns the 18K gold setting. A large Baroque pearl suspended from an enamel dragon finishes the design, which embodies the opulence and theatricality of jewels from the Renaissance age. Cameos and intaglios were highly popular amongst wealthy connoisseurs in Renaissance Italy, and owning the finest pieces was the privilege of princes. Although they were often elaborately mounted for display alone, cameos were also frequently worn as pendants, surrounded by enameled and stone-set gold frames. Such pieces were particularly prized by the Medici and Lorraine families, many of which can now be seen at the National Archeological Museum in Florence. Very few Renaissance cameos...

Large out of print exhibition poster for Flandrin at the Louvre in 1989. Paper Size: 38.75 x 54.75 inches ( 98.425 x 139.065 cm ) Image Size: 38.75 x 54.75 inches ( 98.425 x 139.065 ...

Beautiful weathered oak winged angel head Renaissance ornament. France, 16/ 17th century. Weathered Measurements include the wooden pedestal.

19th century Spanish Renaissance buffet was sculpted from dense, old-growth oak with glorious full relief depictions. Set upon a brilliantly...

This cabinet is composed of two bodies, the upper one being recessed. The extraordinary proportions are enriched by a mythological and floral carved decor. The Lower body stands o...

English Renaissance 17th Century Solid Oak Chest Trunk Spectacular period Renaissance oak chest, dating from the early 17th century. The antique piece features a front composed of p...

Italian Renaissance style (19th Cent) brass wall mounted crucifixes with Christ figure (3-PRICED EACH)

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...

2 Similar Italian Renaissance style (17th Cent) walnut curved 3 legged sgabelli with carved back and seat (PRICED EACH)

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...

Exquisite museum quality antique reticulated polychrome enamel, natural pearl 14K gold Renaissance Revival cross necklace. 19th Century A ra...

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...

Circa 1870s, 14k, possibly Italian. This bracelet is unapologetically Renaissance fabulous. The highly detailed handwork in fourteen-karat yellow gold features opulent scrolls, flour...

superb rare French walnut renaissance table from the late 16th/early 17th century Very fine table that can be used as a display table or a desk as it has a height below the belt of 6...

ORIGIN : ITALY, VENICE PERIOD : 16th CENTURY   Height: 103 cm Length: 174 cm Depth 45 cm   Walnut Usual restoration     The low sideboard with several doors became more common in the...

Step back in time with this beautifully evocative vintage charm necklace, dating to the 1960s and styled in the spirit of Victorian and Renaissance revival. This ornate piece feature...

Early Maison Gripoix for Chanel articulated Renaissance pendant brooch circa 1960. Of Gripoix poured glass enamel in emerald and ruby, glass beads, cut crystal rondelles and faux baroque pearls set...

A striking Neo‑Renaissance throne chair from France, dating to the 1890s, distinguished by its sculptural presence and richly historic charact...

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...

Fine, museum quality Late Renaissance period diamond, white and cobalt enamel gold snake ring 17th Century This beautiful ring is a remarkable example of Late Renaissance period jewe...

Weathered Renaissance carved oak panel, originally from a piece of furniture.

A rare carved walnut wardrobe opening with four door-leaves and two drawers in the lower part. The doors bear architectural views in low reliefs, fluted pilasters and Ionic capitals. Upper Body Two door-leaves with carved architectural perspectives open the wardrobe framed by three fluted pilasters with Ionic capitals. Each door-leaf depict two semi-circular arcades whose cornice and base shows a central vanishing point. Likewise the pavement’s lines act for the artisan as a way to create depth. The vaulting instead leads us to think the vanishing point has to be situated where the handle is, between the two complementaries reliefs. The elegant moulded belt hides an internal secret space, accessible through a moveable plank in the upper body. Lower Body Two door-leaves identical to those of the upper body framed by three fluted pilasters with Doric capitals. The base of the wardrobe opens with two large drawers. The sides also bear panels depicting architectural perspectives. The external pilasters share their Ionic capital with the facade’s pilasters. Thus we can observe on the wardrobe’s sides the capital’s lateral parts with the elegant volute specific to the Ionic order. This palace wardrobe is topped by an overlapping cornice standing on three consoles for the facade and two consoles on each sides. Placed right above the pilasters each console are adorned by fully expanded leaves. During the 15th century a major interest for architecture and perspective studies arises and influences patrons tastes. The work of great theorists such as Leon Battista Alberti...

A pair of Italian Renaissance walnut chairs. Pozzetto, Ref & quot;Volpi Collection- Art Treasures of the Davanzati & quot; These chai...

This is a beautiful 19th century Tuscan Renaissance fragment. Perfect for placement above your mantle, stove, a bed, or use it to dress up a wall b...

English Renaissance-style pewter tankard (measure).

Lovely little oak tabernacle from the Renaissance period of the 17th century. Superb little unusual piece of furniture with its original lock and working key. The door is covered wi...

Period: Late 16th century Measurements: 8,5 cm x 5,7 cm Weight: 79,28 gr This refined Renaissance pendant dates to the late 16th century and is distinguished by its cross shape, whi...

This is a wonderful pair of antique Renaissance Curule or Savonarola Style Chairs with carved loins heads beneath carved scrolls on the arm posts and a carved crest between the posts...

A marble wall fountain with dolphin pedestal. The Campana shaped body of the basin is supported by the dauphin grotesque pedestal which is placed on a raised square foot. The fountai...

This is a small silver baby crib filigree medal. It depicts an oval medal with the relief of Virgin Mary trying to cover Baby Jesus with a blanket who is la...

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...

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 ...

Rare carved Renaissance cabinet Period : 2nd half 16th century, ca. 1570 Origin : France, Burgundy or Languedoc This cabinet embody the produ...

Period: Late 16th century Provenance: Italy Ring size: 8 Weight: 18.2 gr This Renaissance cameo can be attributed to the end of the 16th century, is made of agate, and inserted in a...

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...

An extraordinary Dutch wardrobe that dates to the 18th Century. This substantial armoire is handcrafted from solid oak. Some panels have been made with a “tigering” technique to crea...

A remarkably complete late nineteenth-century dining-room ensemble conceived as a unified architectural interior, characterized by imposing proportions, elaborate carving and a sophi...

2 Italian Renaissance style oak rectangular foot stools with cane seat (priced each) (20th Cent.).     

Italian Renaissance style (20th Cent) gilt framed oil still life painting of fruit, jug, and basket

Italian Renaissance-style (19th Century) carved walnut Savonarola style armchair with carved heads. (Matching loveseat: 041408)

Early CoCo Chanel sautoir fabricated by Robert Goossens of Renaissance inspiration, composed of deep ruby pate de verre beads flanked by rondelles of crystal brilliants and small faux pearls. There are gilt filigree lantern...

Oakwood Original lock and key   This beautiful and robust chest stands on square feet ending in flattened buns. The base presents plain mouldings. The facade is divided in four panel...

Italian Renaissance style 19th Century terra cotta 10 piece religious creche/nativity set. (PRICED AS SET) Minor chips and losses, shows wear consistent with age.

An Italian Renaissance style walnut Savonarola folding chair from circa 1900 with lion paw feet. This Italian Renaissance style Savonarola chair, dating back to circa 1900, is a sple...

Italian Renaissance style wrought iron floor standing candle pricket on 3 legs.

Italian Renaissance-style (19/20th Century) small wood zither with red cross decoration