Renaissance Furniture

Italy / 16th century / Venetian chest or Cassone / oak, polychroom / antique / renaissance A large carved and gilt painted Venetian marriage chest made in oak in the 16th century i...

19th century Renaissance style chair. Handsome antique Continental Renaissance style or Gothic style walnut Savonarola chair, throne chair, si...

Italian Renaissance style Jupe extension dining table. A reclaimed oak and chestnut burl restored circular extending dining table, the segmented top opening to reveal six self-storin...

Vintage French Renaissance Style Silver Plated Tall Ornate Compote Centerpiece Dish Bowls - a Pair. Item features tall silver plated heavy metal construction, ornate floral and folia...

**Magnificent Late 19th-Century Neo-Renaissance Figural Nef, ca. 1880s-1890s** This exquisitely crafted table vessel embodies the grandeur of Renaissance-inspired artistry, reinte...

It is a delightful classic Venetian mirror with a frame formed by rods and crystal curls, the engravings that adorn this luxurious mirror have been completely handmade, and the finis...

Antique Oscar Bach Attributed Figural Bronze Marble Top Telephone Hall Stand with Chair. Item features an ornate figural bronze telephone cabinet stand, marble top, small chair with needlepoint seat...

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...

Niccolo Gualtieri, Florentine Conchologist/ Artist- Two Framed 1742 Italian Hand Colored Copper Bookplate Engravings- Seashells, From Gualtieri's book "Index Testarum Conchyliorum......

English Renaissance-style halberd spear with simple wooden shaft and 34-inch iron ax top blade with tassels.

Presenting an absolutely stunning 16th century carved Spanish oak writing desk and cabinet, with amazing provenance and historical and literary significance. This desk/cabinet was purchased by a wealthy Dallas family from a French antique auction held at the club room in the Stoneleigh court (hotel), Dallas on Wednesday the 2nd April 1930. (Now the meridian hotel). The auction was titled: “works of art and furnishings of the Chateau de Turique (Nancy) and the Conde-Rougemont home (Touraine). The cover of the catalog also has a seal of a coat of arms. The second page gives a brief description of the auction contents and states that " this exhibition will be presented by M. Fernand M. Adda of Paris France". The desk/cabinet was lot no: 565 and was described in the auction catalog as: "Carved Spanish writing desk and cabinet...... 16th century period....Upper section a cabinet with two doors which are paneled and display a fine carving. The interior is fitted with eight engraved drawers, and a writing tablet is disclosed in the lower portion. Sustained and central arcade of columns. From Fontana Rosa collection. Supported on four turned legs with bulbous feet." Fontana Rosa is a historic garden situated on the avenue Blasco Ibáñez in Menton, Alpes-Maritimes, on the French Riviera. The Spanish writer Vicente Blasco Ibanez (1869-1928) began to build it from 1922 on, and he set up home here with his second wife, Elena, and died there in 1928. Vicente Blasco Ibanez was a journalist, politician and best-selling Spanish novelist in various genres whose most widespread and lasting fame in the English-speaking world is from Hollywood films adapted from his works. The provenance is impeccable, it belonged to Ibanez and was part of his collection at Fontana Rosa when he died in 1928. The auction in which it was first sold in Dallas was in 1930, which makes perfect sense from a 'timeline' point of view. Ibanez is a very important literary figure. Having regard to the fact that this is a writing desk means that in all probability, Ibanez would have 'penned' some of his famous works at this very desk and using the surviving slope/shelf. Fontana Rosa is a historic garden situated on the Avenue Blasco Ibáñez in Menton, Alpes-Maritimes, on the French Riviera. The Spanish writer Vicente Blasco Ibáñez (1869-1928) began to build it from 1922 on, and he set up home here with his second wife, Elena, and died there in 1928. This garden with Spanish and Menton pottery is found in avenue Blasco Ibanez, near Garavan station, and was created a Historical Monument in 1990. It is also called “Le Jardin des Romanciers” (El Jardín de los Novelistas/The Garden of Novelists), and was frequented by celebrities such as Jean Cocteau. It was the place where Blasco Ibáñez wrote Mare Nostrum, a novel filmed later in 1926. The garden inspired by Andalusian and Arabian-Persian styles contains species such as Ficus macrophylla, Araucaria heterophylla , palm trees, banana trees or scented rosebushes. It is a tribute to Vicente’s favourite writers : Cervantes, Dickens, Shakespeare or Honoré de Balzac, whose busts can be found at the entrance and to whom he dedicated several fountains and rotundas. Its main buildings are a small elevated villa with polychromatic pottery which houses a library and a personal movie projector...

A suite of six porcelain plaques by French artist and illustrator Jean Gradassi (1907-1989) entitled "Vie, Coutumes & Moeurs dans les Châteaux de France 1400 à 1650" (Life, Customs a...

An exceptional and rare 17th century large iron box lock, showcasing the ornate craftsmanship of the Late Renaissance- Early Baroque period. Entirely hand-forged in steel and iron, t...

An Amazing Pair of A Pair of Continental Gilt-Metal-Mounted Variegated Grey, Dark Grey and Green Marble Fluted Corinthian Columns, Pedestal Late 19th Century. Etched bronze, Brass in...

Antique Henri II Carved Buffet, Cupboard, Stained Glass, Oak, 96.5"H Antique Cupboard Buffet Cabinet Oak 19th Century Beautifully Carved 5 door cabinet Spindle trim top Top has two s...

The Biseo Mirror represents the entire Venetian tradition in an elegant style. With glass elements carefully engraved by hand and mirrored by skilled craftsmen, the piece is supporte...

Very beautiful trunk from the Renaissance period, very nicely carved with palm leaves and acanthus leaves in an architectural setting. Four Ionic co...

Refined and unique sideboard in solid carved walnut, decorated with "Carthusian" inlays in walnut and other woods. The sideboard features a linear shape, characterized by a base and ...

Classic octagonal Venetian mirror, made in the most rigorous Murano tradition. Finely hand-engraved on the elements of the bands, it is assembled with numerous floral elements in gol...

An exceptional 18th-century French Renaissance cabinet, sourced from the French Alps. Masterfully hand-crafted from solid oak, this two-piece ensemble showcases exquisite and elabora...

This barley twist dining table is shown here in 108" x 40", expanding to 138", however it can be built in any size. Because each table is be...

16th Century Italian Renaissance Painted Marble Lacquer Wooden Cabinet (1500s) An extraordinary Italian Renaissance wooden cabinet from the 1500s awaits the discerning collector. Thi...

4 Italian Venetian 2-arm mirrored wall sconces having a shield shaped form with crystal pendants (PRICED EACH) Good condition consistent with age and use

A beautiful Italian neoclassical walnut console table with serpentine shaped and beveled top, carved turned legs united by the classic shaped stretcher.

Italian Renaissance-style (19/20th Century) rectangular shaped wrought iron low fernery with floral and scroll design.     

An extraordinary Renaissance Period walnut small side cabinet with fruitwood inlay detail. Of museum quality, in remarkable original condition (has not been reconstructed in any way)...

A centuries-old sideboard - chest of drawers with a Renaissance-style extension. Made at the beginning of the 19th century. Furniture - UNIQUE, richly decorated with carvings and rel...

Pair of Italian (19th Cent) walnut carved winged griffin base pedestals on square base.

A rare and very fine bronze corpus of Christ after a model by Michelangelo, cast ca. 1597-1600 by Juan Bautista Franconio and painted in 1600 by Francisco Pacheco in Seville, Spain. The present corpus reproduces a model attributed to Michelangelo. The best known example, lesser in quality, is one on display at the Metropolitan Museum of Art (MET). The association of this corpus with Michelangelo was first brought to light by Manuel Gomez-Moreno (1930-33) who studied the wider circulated casts identified throughout Spain. The attribution to Michelangelo was subsequently followed by John Goldsmith-Phillips (1937) of the MET and again by Michelangelo expert, Charles de Tolnay (1960). While Michelangelo is best known for his monumental works, there are four documented crucifixes he made. The best known example is the large-scale wooden crucifix for the Church of Santa Maria del Santo Spirito in Florence, made in 1492 as a gift for the Prior, Giovanni di Lap Bicchiellini, for allowing him to study the anatomy of corpses at the hospital there. In 1562, Michelangelo wrote two letters to his nephew, Lionardo, indicating his intention to carve a wooden crucifix for him. In 1563 a letter between Lionardo and the Italian sculptor Tiberio Calcagni, mentions this same crucifix (a sketch of a corpus on the verso of a sheet depicting Michelangelo’s designs for St. Peter’s Basillica [Palais des Beaux-Arts in Lille] may reproduce this). That Michelangelo was working on small corpora in the last years of his life is further evidenced by the small (26.5 cm) unfinished wooden crucifix located at the Casa Buonarroti, considered his last known sculptural undertaking. Michelangelo’s contemporary biographer, Giorgio Vasari additionally cites that Michelangelo, in his later years, made a small crucifix for his friend, Menighella, as a gift. Surviving sketches also indicate Michelangelo’s study of this subject throughout his career, most notably during the end of his life but also during the 1530s-40s as he deepened his spiritual roots. The occasional cameo of crucified Christ’s throughout his sketched oeuvre have made it challenging for scholars to link such sketches to any documented commissions of importance. All the while, in consideration that such objects were made as gifts, it is unlikely they should be linked with commissions. Nonetheless, a number of theories concerning Michelangelo’s sketches of Christ crucified have been proposed and some may regard the origin of the present sculpture. It has been suggested that the corpus could have its impetus with Michelangelo’s work on the Medici Chapel, whose exclusive design was given to the master. It is sensible smaller details, like an altar cross, could have fallen under his responsibility (see for example British Museum, Inv. 1859,0625.552). Others have noted the possibility of an unrealized large marble Crucifixion group which never came to fruition but whose marble blocks had been measured according to a sheet at the Casa Buonarroti. A unique suggestion is that Michelangelo could have made the crucifix for Vittoria Colonna, of whom he was exceedingly fond and with whom he exchanged gifts along with mutual spiritual proclivities. In particular, Vittoria had an interest in the life of St. Bridget, whose vision of Christ closely resembles our sculpture, most notably with Christ’s proper-left leg and foot crossed over his right, an iconography that is incredibly scarce for crucifixes. The suggestion could add sense to Benedetto Varchi’s comment that Michelangelo made a sculpted “nude Christ…he gave to the most divine Marchesa of Pescara (Vittoria Colonna).” Of that same period, two sketches can be visually linked to our sculpture. Tolnay relates it to a sketch of a Crucified Christ at the Teylers Museum (Inv. A034) of which Paul Joannides comments on its quality as suggestive of preparations for a sculptural work. Joannides also calls attention to a related drawing attributed to Raffaello da Montelupo copying what is believed to be a lost sketch by Michelangelo. Its relationship with our sculpture is apparent. Montelupo, a pupil of Michelangelo’s, returned to Rome to serve him in 1541, assisting with the continued work on the tomb of Pope Julius II, suggesting again an origin for the corpus ca. 1540. The earliest firm date that can be given to the present corpus is 1574 where it appears as a rather crudely conceived Crucifixion panel, flanked by two mourners in low-relief and integrally cast for use as the bronze tabernacle door to a ciborium now located at the Church of San Lorenzo in Padula. Etched in wax residue on the back of the door is the date, 27 January 1574, indicating the corpus would have at least been available as a model by late 1573. The Padula tabernacle was completed by Michelangelo’s assistant, Jacopo del Duca and likely has its origins with Michelangelo’s uncompleted tabernacle for the Basilica of St. Mary of the Angels in Rome. The impetus for the Padula tabernacle’s Crucifixion panel begins with a series of late Crucifixion sketches by Michelangelo, depicting a scene of Christ crucified and flanked by two mourners (see British Museum Inv. 1895.0915.510; Ashmolean Museum Inv. 1846.89, KP II 343 recto; Windsor Castle RCIN 912761 recto; and Louvre Inv. 700). A faintly traced block possibly intended for sculpting the sketch of the crucified Christ on its recto was discovered by Tolnay on a version of the composition at Windsor Castle. The Windsor sketch and those related to it appear to have served as preparatory designs for what was probably intended to become the Basilica of St. Mary’s tabernacle door. Vasari documents that the project was to be designed by Michelangelo and cast by his assistant, Jacopo del Duca. Michelangelo died before the commission was complete, though on 15 March 1565, Jacopo writes to Michelangelo’s nephew stating, “I have started making the bronze tabernacle, depending on the model of his that was in Rome, already almost half complete.” Various circumstances interrupted the completion of the tabernacle, though its concept is later revitalized by Jacopo during preparations to sell a tabernacle, after Michelangelo’s designs, to Spain for Madrid’s El Escorial almost a decade later. The El Escorial tabernacle likewise encountered problems and was aborted but Jacopo successfully sold it shortly thereafter to the Carthusians of Padula. An etched date, 30 May 1572, along the base of the Padula tabernacle indicates its framework was already cast by then. A 1573 summary of the tabernacle also describes the original format for the door and relief panels, intended to be square in dimension. However, a last minute decision to heighten them was abruptly made during Jacopo’s negotiations to sell the tabernacle to King Phillip II of Spain. Shortly thereafter the commission was aborted. Philippe Malgouyres notes that the Padula tabernacle’s final state is a mixed product of the original design intended for Spain’s El Escorial, recycling various parts that had already been cast and adding new quickly finished elements for its sale to Padula, explaining its unusually discordant quality, particularly as concerns the crudeness of the door and relief panels which were clearly made later (by January 1574). Apart from his own admission in letters to Spain, it is apparent, however, that Jacopo relied upon his deceased master’s designs while hastily realizing the Padula panels. If Michelangelo had already earlier conceived a crucifix model, and Jacopo had access to that model, its logical he could have hastily employed it for incorporation on the door panel to the tabernacle. It is worth noting some modifications he made to the model, extending Christ’s arms further up in order to fit them into the scale of the panel and further lowering his chin to his chest in order to instill physiognomic congruence. A crude panel of the Deposition also follows after Michelangelo’s late sketches and is likewise known by examples thought to be modifications by Jacopo based upon Michelangelo’s initial sculptural conception (see Malgouyres: La Deposition du Christ de Jacopo del Duca, chef-d’oeuvre posthume de Michel-Ange). Jacopo’s appropriation of an original model by Michelangelo for more than one relief on the Padula tabernacle adds further indication that the crucifix was not an object unique to Jacopo’s hand, as few scholars have posited, but rather belongs to Michelangelo’s original...

Set of four Italian walnut Savonarola armchairs ORIGIN : FLORENCE, ITALY PERIOD : LATE 15TH CENTURY - EARLY 16TH CENTURY Measures: height : 102 cm 40.15 inches, height : 93 cm 36.61 inches length : 68 cm 26.77 inches, length : 68 cm 26.77 inches depth : 55 cm 21.65 inches, depth : 50 cm 19.68 inches Walnut Very good condition This movable Italian seat from the late 15th century descents from the roman curule seat. It took the name of sedia Savonarola...

17th C. Italian Ebonized Fruitwood Mirror, 19th C. Mercury Glass Interior Mirror H: 38.5 D: 1.5 W: 35 in.

A single beautiful liqueur glass made in Murano Italy. Very good vintage condition, consistent with age and use. A nice addition to any table, bar or just to display in your collecti...

A well carved hardwood bust reminiscent of sacred and religious sculpture of the Gothic and Renaissance eras. Antique carved wood head of a mal...

A very large and impressive vintage pair of Maitland Smith hand painted art panels featuring a French Neoclassical / Renaissance eglomise style mo...

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

Precious rectangular Venetian mirror, made in the most rigorous Murano tradition. Finely hand-engraved on all elements, it is assembled with numerous floral elements in crystal and g...

19th Century French Renaissance Two-Tiered Bookcase ~ Bibliotheque is an impressive example of the refined Renaissance style, sometimes referred to as Henri II, with architecture tha...

This 18th century Italian walnut carved side cabinet commode is an exceptional example of fine craftsmanship and classical artistry. Hand-carved from rich walnut, the piece features ...

On offer here is an Exquisite 17th Century Oak Two-Door Cabinet from the Carmelite Monastery in Bruges, Belgium. This antique piece, crafted in the Southern Netherlands around 1635, ...

This Antique Reproduction of a Late 17th Century Italian chestnut Fratino style table features solid top planks with end frames and a base with crosspieces and wood joinery pins. With is superior details including dovetail joinery, present a fine rustic antique look for use as a primitive table for display, or communal style dining or even in a contrasting modern setting. We can reproduce this antique style in any size you require. See pricing below for standard dining table sizes - made in Italy by our craftsmen. We offer finish options on aged hardwoods which may be very distressed like this antique Italian chestnut table, or formal & smooth on premium Italian walnut. Available to order with shellac color stain options. Available Options either in Walnut or Chestnut: 79”L x 39”W 84”L x 40-42”W 96”L x 40-42”W 108”L x 40-42”W 120”L x 40-42”W Larger table sizes, narrow widths, and single slab tops available by quote. Bellini’s Old World Collection...

Spanish Provincial (20th Cent) style painted and carved horse head wall plaque/sign (La Taberna Caballoblanco) (Related item: 049724D).  

Fabulous pair of marble top night tables in a french / Italian Renaissance style c1935 with Marquetry and inlay, bronze mounts and (porcelain i...

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...

Oil on canvas painting "Madonna and Child". Blacklight scan show there has been a touch up covering the baby Jesus's genitals done over the centuries. In the original ornate gold fra...

This Renaissance style vitrine cabinet is a stunningly beautiful masterpiece in white oak with superb carvings and detail. Note the fourteen carved figures, lion's heads and other su...

This pair of antique covered urns are signed by and unknown maker, and presumed to have originated from France and date to approximately 1880 and d...

Renaissance bronze medallion made by Master IOFF in the mid 15th century, showing the mythological scene of Ariadne on Naxos. Made in the mid-15th ...

Classic shaped Venetian mirror, made in the most rigorous Murano tradition. Finely hand-engraved on all elements, it is assembled with numerous floral elements in multicolored crysta...

These Renaissance style antique French patinated bronze ewers depict very busy and mischievous Bacchanalian putti at play. A cherub sits atop the handle holding an item in his hands....

A late 16th century oil on copper painting by Nicolò Cercignani, an Italian Old Masters artist of the late-Renaissance or Mannerist period, depicting the Raphaelesque transfiguration...

This cassone, remarkable for its sobriety, sits on two clawed lion’s feet and a moulded base. On the façade, there is one large, moulded frame, with two soberly carved medallions inside it. Each medallion has a painted coat of arms at the centre. The two coats of arms are different, suggesting that there was an alliance between two families through marriage. The thick lid has a fluted frieze at the front. On the sides, a wrought iron handle reminds us of the use of this piece, which was intended for storing the property of its owner and allowing them to travel between various residences. The square shaped handles highlight the earliness of this object in the century. The cassone is, along with the bed, a key piece of furniture of the Middle Ages and was still used in the Renaissance Period.

A monumental 16th century sandstone Renaissance fireplace mantel. Finely sculpted with a moulded beam and colomn supports. Decorated with flower motives, guirlandes and cirkels. Lov...

This German oak chest from the 17th century is a fine example of early modern craftsmanship, combining solidity with decorative refinement. The front is constructed with heavy, richl...

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...

A RARE RENAISSANCE WALNUT CABINET WITH ITS FREESTANDING CARVED COLUMNS ORIGIN : FRANCE, BURGUNDY PERIOD : 16th CENTURY Height : 218 cm Length : 152 cm Depth : 67.5 cm Walnut Thi...

SWISS CHEST RICHLY CARVED WITH THE COAT OF ARMS OF THE RIEDMATTEN FAMILY FRAMED BY TWO HOLY CONVERSATIONS ORIGIN : SWITZERLAND, VALAIS CANTON PERIOD : END OF 16th CENTURY – EARLY 17...

Christofle French silver flatware has been crafted by master artisans since 1830. The revolutionary style and character of Christofle dinnerware comes from collaborations with ground...

A rectangular, antique very long Tuscan Renaissance dining room table made of hand crafted Walnut, in good condition. The top of the Italian center table has a dark original patina w...

Antique Italian Renaissance Carved Giltwood Wall Mirror will make a timeless style statement in any room! The generously sized frame is completely carved all around with acanthus fo...

19th century carved walnut bench from France with a newly upholstered seat in linen and finished with welted decoration. The upholstered seat is scalloped and is enclosed in a molded...