Renaissance Furniture

Oak sculpture of Saint Anne, 16th century. Large oak sculpture of Saint Anne. Work from the Upper Rhine, Basel region. First third of the 16th century. An arm is missing from the i...

Marvelous Antique Belgian Tapestry, Country of Origin / Rug Type: Belgium, Circa date: 16th century. Size: 8 ft x 9 ft 6 in (2.44 m ...

Chic, 15th Century, Roman marble fragment of a left foot and calf mounted on a custom iron stand.

Angel. Carved and polychrome wood. Century XVI. Polychrome wood carving showing an angel, with the face facing the viewer and the body in pr...

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...

An extraordinary azure maiolica dish in the Farnese service, made by Castelli d'Abuzzo between 1580 and 1589. In the peak of the High Renaissance, Cardinal Alessandro Farnese commissioned a dinner service from the Castelli maiolica...

Italian buffet in walnut and fruitwood from the 17th century opening with two doors and which has a drawer Very beautiful small model with a superb top with a nice patina and a be...

IMPORTANT PAIR OF 18TH CENTURY PORTUGUESE STATE CHAIRS Portuguese, from 18th century in rosewood and other woods, back with hollow tables. Upholstered seats. Small defects. Dim...

Elegant oratory or prieu dieu (prayer Kneeler) in walnut and burr walnut from northern Italy circa 1600 Very beautiful Italian Renaissance furniture...

Italian Renaissance style carved cassone floor trunk with polychromed and gold trim (17th Cent.)

A marvelous 18th century Italian writing table with the three chairs from Florence, Italy. This desk is an example of country Italian furniture. Simple but elegant. Strong but utilit...

This 17th-century wooden sculpture depicts a Saint Pope. Standing with a commanding presence, the figure wears the papal tiara and a richly draped robe, both remnants of its original polychrome still subtly visible in warm, aged tones of red and ochre. The sculpture radiates solemnity, capturing the spiritual gravitas. Carved from wood the Pope’s face is stern yet compassionate, framed by the traditional papal crown. His arms are raised in a once-blessing gesture—though the hands have been lost over time, the posture still conveys benediction. The stylized drapery and vertical form suggest it may have once adorned a church altar or devotional niche. The wear and patina accumulated over centuries only add to its sacred aura and historical significance. This Saint Pope sculpture is ideal for collectors of religious art, baroque devotional objects, or antique European sculpture.

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...

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

Italian 17th Century Oil on Canvas of Saint Matthew of Agrigento This striking oil on canvas, executed in Italy in the 17th century, depicts San Matteo di Agrigento (St. Matthew of A...

Superb and rare four door oak and ebony sideboard from the early 17th century from the Netherlands. Exceptional Renaissance work composed of two doors at the bottom with arches deco...

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...

IMPORTANT PORTUGUESE COMMODE 18th century Rosewood In rosewood wood, with 3 large drawers and 3 drawers. Wavy and cut top, decorated with recess. Cropped skirts decorated with flora...

Small 17th Century Antique German Biblical Tapestry Depicting David And Abigail, Country Of Origin: Germany, Circa Date: 17th Century. Size: 1 ft 8 in x 1 ft 8 in (0.51 m x 0.51 m)

Renaissance Harpy bronze Italy, 16th century 15 x 12 x 5,5 cm This expressive bronze figure represents a harpy, a mythological creature with the body of a bird and the head and tor...

French Provincial Renaissance style (possibly 17th Century) leather mounted 6 panel screen with a gold background and decorated with painted parrots and foliage.  

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

Three Delft manganese tiles forming a portrait of a peacock, 18th century

Acetre. Bronze. Century XVI. Bronze piece that has a circular foot, and a circular body, with an outwardly hollowed mouth at the top, and a decoration in relief in this last area o...

Small 17th Century Italian Renaissance Credenza. Made of Circassian Walnut with carved heads as handles to the single drawer over two paneled doors with bronze hardware and heavily c...

This Spanish walnut chair with a large wide seat was made circa 1680-1700. Made from well carved but simply done walnut the chair is centered on ...

Gold Background, Coronation of the Virgin. 14th century. Venetian work, point of polyptych, tempera and gold on reinforced poplar panel,.Surroundings of Lorenzo Veneziano (1336_1379)...

A museum quality, English, Late-Renaissance, cedar enclosed chest of drawers with exceptional snakewood, walnut & oak with an architectural or façade front This is the most sophisticated English model of chest of drawers conceived as a cabinet piece with an architectural front intended to disguise the drawers. This chest exhibits the mastery of English Late-Renaissance, cabinet making combining woods prized for their exoticism, color and beautiful figuring with carving and moulding in different ornamental patterns to simulate materials found within an architectural façade...

17th-century chestnut console or buffet with exceptionally deep patina and centuries of wear reflecting its early origins. The piece features a high back with simple carved panels, a...

Florence, late 16th century Restored New padding Typical Renaissance Florentine "Seggiolone" Dimensions: cm W66 x D63 x H140.

A tall walnut cabinet buffet, having a plank top with dentil moulding above a two drawers. The carved paneled doors, flanked by Doric columns sitting on multi-moiled base, supported ...

Allegory of Time. Oil on panel. Circle of Jacob de Backer (act. Antwerp, 1571-1585). Exhibition: “Reality, time and artifice. Still life and vanitas in baro...

2 Similar Italian Renaissance style (17th Cent) walnut straight 4 legged sgabelli with V cut on back (PRICED EACH)(one with incised cross)

Label on verso. From Grosser Atlas. The name Belgium comes from the ancient designation "Gallis Belgica". Figural decoration upper left. M. Seutter was a famed German mapmaker in the...

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 ...

Spanish Renaissance style (17th Cent) large oak camel top floor trunk with wrought iron trim.

Extraordinary, large Italian Renaissance table of strong, linear design. The thick 2-plank top with a narrow dentil edge, above a frieze cont...

Hispano-Moresque Mudéjar Bone-Inlaid Walnut Chest
 Spain, 16th–17th century 
Walnut, bone inlay, iron fittings
 44.5 × 30.5 × 18 cm This rectangular walnut chest, richly ornamented ...

Attractive, rare Renaissance trestle table of typical, bold design and beautiful rich color. The table can be taken apart for shipping and ha...

Stunning 18th Century Foxed Mirror in Carved Wooden Frame. This mirror is known for its elaborate carvings and intricate details, featuring motifs like flowers, scrolls, birds and ch...

This is a blackened oak chest with paneled sides and richly carved geometric decoration across the front. The piece was crafted in Northern Europe—likely the Low Countries or the Wes...

A magnificent pair of Italian bronze torchères/candlesticks from the 17th century Superb Italian work of very good quality. In addition, the size of the candlesticks is impressive a...

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...

IMPORTANT LARGE PORTUGUESE ORATORY 17th Century in carved and turned Brazilian rosewood with remains of gilding, glass doors and sides. Interior with painted, polychrome and gold de...

D. JOSÉ CHEST OF DRAWERS Portuguese, 18th century. in walnut wood, with two large drawers and two drawers. Wavy and cut-out top, decorated with a recess. Cut-out and openwork skirts...

Set of 4 English Renaissance (17th-18th century) walnut joint leg side chairs with double front spool stretcher and red velvet upholstered seat and back.

Hand Carved Stone Column Base pedestal Sculpture Doorstop Decorative Element LA . Nicely hand carved 17th century Renaissance stone column base appli...

superb chest from the 17th century from the Spanish renaissance from the Pampalune region Chest called 6 plank chest since all the faces are from a sing...

Beautiful Renaissance walnut chest of drawers with small dimensions, characterized by carvings and panel decorations both on the drawers and on the sides. This piece of furniture is ...

Important Portuguese table Bufete 18th century In rosewood wood with twisted and trembling carvings. Rectangular-shaped table top, framed on the front and sides by a jagged frieze, ...

Albrecht Dürer, Saint Eustace. Wood engraving, 1501. Signed with the monogram A.D (Albrecht Dürer) Why not having on a wall a Masterpiece which is also ...

The Martyrdom of Santa Barbara Wool and silk tapestry Bruges, 1530-50 270 x 198 cm Expertise by Professor Guy Delmarcel This Flemish tapestry is a remarkable example of 16th-century craftsmanship, distinguished by its exceptionally well-preserved color palette. The medaillon-shaped center stands out against a background of dark blue roses and acanthus leaves. It depicts the martyrdom of Saint Barbara, identified by the tower where she was imprisoned. According to legend, her father, Dioscorus, is about to behead her with a scimitar, while an angel descends from the heavens to strike him with lightning. At the bottom, beneath Saint Barbara, two fantastical creatures. On the left is a griffon depicted with the body of a lion and the head and wings of an eagle. On the right is a creature with the body of a leopard, the head of an elephant adorned in a fancy blue cloak. Both animals face each other standing either side of a green hill top in the middle of the tapestry. The lavish scene of the tapestry is framed by a border which is embellished with foliage, flowers and fantastical elephant heads in blue and white on a red background. The corners and center of the edges display goldsmith-objects. The vibrant brick-red colour and striking bluish-green leaves create a stunning visual impact, showcasing the outstanding state of conservation. Professor Guy Delmarcel connects this tapestry to a series of textiles produced in Bruges after 1530, characterized by their fantastical nature scenes populated with imaginative creatures. Most feature similar roses and acanthus-leaves as well as other vegetation, with wild animals appearing ready to attack. Two almost identical pieces preserved at the Art Institute of Chicago (Bruges, 336 x 599 cm) and the Rijksmuseum in Amsterdam ("Tournai," 285 x 490 cm) serve as prime examples. The entire surface is filled with greenery, along with birds and fantastic animals. This tapestry exemplifies the rich decorative style of the time, merging naturalistic and poetic elements with exotic animals that spark the imagination. Other works of this type follow the theme of the "Closed Garden." In the lower register, fantastical creatures occasionally appear, as seen in the exquisite Bruges Tapestry displayed at the Museum of Decorative Arts in Paris, and in the example from the Burrell Collection in Glasgow. The Parisian tapestry from Bruges features a mythical animal in the lower register, dressed in blue fabric, which closely resembles the animal in our tapestry. If Enghien or other centers produced similar pieces, several elements suggest a stronger connection to Bruges for two formal reasons: The overall colour-palette of our tapestry fabric characterized by pronounced brick-red colours and bluish-green leaves, aligns more closely with Bruges than with Tournai or Enghien. The intricate border design with the warm brick-red background, adorned with floral motifs, goldsmith-inspired elements such as incense burners and small bells, can be traced back to Bruges around 1530. This style, often associated with heraldic imagery, underscores the tapestry's connection to the city's rich artistic heritage. A comparable example is the tapestry featuring the Arms of Paolo Giovio, now part of the Prince of Liechtenstein's collection in Vaduz. This piece, set against a brick-red background, depicts arms and armors, cornucopias, boys riding grotesque dolphins, as well as various flowers and leaves. All available literature dates this group of tapestries to the second quarter of the sixteenth century. A key formal element further supports this dating: the executioner, depicted preparing to behead Barbara, wields a Turkish scimitar, a reference to the frequent Ottoman incursions into Central Europe beginning with the 1529 siege of Vienna...

Carved overall with arabesques and scrolls, the lid centering a crowned armorial. César Bagard was born in Nancy in 1620. Most of the work known to have been carved by him was comp...

A continental carved walnut chest in the Renaissance taste, 18th century, probably Italian, the lid opens to a void interior. The case is carved wi...

Paper holder bronze, 16th century. Portapaz made of bronze with an "asymmetric" handle on the back, which presents a decoration in light relief framed in an architectural compositio...

Oil on copper representing the martyrdom of an unidentified saint (the angels passing over the scene) and bringing him the palm and the crown of martyrs, without any specific attribu...

Sold as a PAIR. Over three centuries in age and hailing from Italy, this exquisite pair of Corinthian columns has been handcrafted and conscientiously rendered as pure representation...

A spectacular, period Renaissance, hand carved, walnut table base with original Breccia Africano marble top.

PORTUGUESE COMMODE 18th century. In mahogany wood with two drawers and three large drawers. Dim.: 100 x 123 x 64 cm. Good conditions.

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 ...