Renaissance Furniture

Great image after Domenichino Fine steel engraving Published circa 1850 Unframed. Free shipping

Antique French carved oak storage cabinet Renaissance Roman Centurion 19th cent ~Direct from the Brittany region of France, an ornately hand carved an...

Stunning antique Spanish Renaissance walnut bench, called "escaño" in Spain, believed to date back to the early 19th century. Heavy pieces of solid walnut in back and seat with bevel...

From Niagara Furniture a Councill Vintage Mahogany Low Boy in excellent condition. Simple yet sophisticated this beautiful Councill Vintage Mahogany Low Boy has everything going for...

An unusual Grotto table, the rounded 'D' shaped flame mahogany and rosewood crossbanded top above a gilt metal cast base of a giant clamshell supported by...

19th century French carved oak cabinet vestry altar wine renaissance dining room. Direct from France, a beautiful 19th century carved cabinet, with a striking silhouette, in a versatile small size, perfect for use throughout today’s home! Clients love this size for a wine/liquor cabinet as well as for serving piece storage in a dining room or towels in a powder room. Excellent style, with carved moulding crown above three baluster columns across the cabinet front, and two recessed carved panel doors. Mid...

An antique Italian Rosso Verona marble sculpture or mask of Zeus with detailed carvings. The solid marble head has a fabulous patina. It is mounted on a square marble plinth, in good...

Tapestries were ubiquitous in the castles and churches of the late medieval and Renaissance eras. At a practical level, they provided a form of insulation and decoration that could be easily transported. In addition, the process of tapestry weaving, where every stitch is placed by hand, enabled the creation of complex figurative images on an enormous scale. This is an excellent example of 16th century Flemish Renaissance Tapestry...

This buffet confiturier is in the style of Henri II, rich in carvings. Buffet confiturier means a cabinet with 1 door that was in the 19th century generally used in the kitchen.

Noah and King David, Flanders, early 16th century Rare wood carvings in the round of Noah holding the Ark and King David holding his lyre. Noah, a biblical figure, is the tenth and l...

An Oval Cocktail Table of the highest quality, produced by Niagara Furniture. Satinwood banding surrounds a field of pie shaped, figured mahogany ...

Pair of Italian Renaissance style (19th Cent) carved oak life size pilaster form pedestals of Greek man and woman (torso) on square base with floral carving

Fabulous brass mirror with aged verdigris patina Can be hung both as a diamond or a square Original mirror plate. The plate is slightly distressed / misty The measurement given is...

A late 16th century Renaissance richly carved walnut center table France, The Loire Valley area Dimensions: h. 33.46 in., w. 59.45 in., d. 36.22 in. Our remarquable table is a fabu...

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...

Provenance : Chabrières Arlès collection then through descent Under the reign of Henry II, during the French Renaissance, the rigour of composi...

The Niagara Furniture Green Leather Fireside Chair is designed after an American original antique chair and ships out covered in full grained tufted genuine leather with brass nail t...

Bring elegance and artistry to your dining or living room with this richly carved antique sideboard. Crafted in Italy circa 1870, the long antique credenza is built of solid walnut a...

Early Arista y cuenca tile made in Toledo. Tile decorated in renaissance with stylized flowers was probably made between 1550 and 1575.

An old sideboard - chest of drawers with a top in the Renaissance style. Made in the late 18th century from walnut wood. A unique piece of furniture, richly decorated with carvings a...

Petite Antique French Octagon Center Side TABLE Renaissance Carved Oak. Direct from France, a fabulous SMALL antique French octagon table, ornately adorned, just like the full-size ...

Elegant Venetian mirror made in the strictest Murano tradition with rich bands carefully engraved by hand. All assembled with golden crystal elements handmade in the Murano furnaces....

This high end Leather Swan Arm Chair from Niagara Furniture is impressive with solid mahogany hand carved details as well as the full grain genuine leather upholstery. A great designer look with a solid and comfortable frame. Inspired by an antique chair...

Very important Renaissance chest transformed into a two-door sideboard in the 19th century. Composed of numerous carved wooden details. This sideboard is richly decorated and testifi...

Classic oval 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 gold cry...

Hand-carved in the Renaissance style in France, circa 1890, this imposing oak armchair features a verdant tapestry affixed with iron nailheads. The sc...

Sea monster Carrara marble mouth fountain Italy, late 16th century It measures 13.8 x 31.5 x 18.9 in (35 x 80 x 48 cm) State of conservation: some small evident gaps and widespread signs of wear due to outdoor exposure. The gray marks crossing it do not come from restoration, but are rather the natural veins of the marble. This work has some morphological characteristics typically associated with the iconography of the sea monster: an elongated muzzle, sharp teeth, protruding eyes, elongated ears, and a coiled serpent's tail. An in-depth series of studies on artistic depictions of the sea monster attempted to verify how this symbol evolved in antiquity in the European and Mediterranean contexts and how it gradually changed its image and function over time. The iconography itself is mutable and imaginative and its history is rich with cultural and artistic exchange, as well as the overlapping of ideas. This occurred so much that it is difficult to accurately pinpoint the "types" that satisfactorily represent its various developments. However, we can try to summarize the main figures, starting from the biblical Leviathan and the marine creature that swallowed Jonah (in the Christian version, this figure was to become a whale or a "big fish", the “ketos mega”, translation of the Hebrew “dag gadol”). Other specimens ranged from the dragons mentioned in the Iliad (which were winged and had legs) to "ketos” (also from Greek mythology), the terrifying being from whose Latinized name (“cetus”) derives the word "cetacean". See J. Boardman, “Very Like a Whale” - Classical Sea Monsters, in Monsters and Demons in the Ancient and Medieval Worlds, in Papers presented in Honor of Edith Porada, Mainz am Rhein 1987, pp. 73-84). In Italy the monster underwent yet further variations: it can be found in Etruscan art on the front of some sarcophagi representing the companion of souls, while among the Romans we find the “Pistrice” (cited by Plinio in Naturalis Historia PLIN., Nat., II 9, 8 and by Virgilio in Eneide: VERG., Aen., III, 427), which appeared in the shape of a stylized hippocampus or a very large monstrous cetacean and evolved into a hideous being with a dragon's head and long webbed fins. During the Middle Ages, the sea monster was the object of new transformations: at this time, it is often winged, the head is stretched like a crocodile, the front legs are often very sharp fins - sometimes real paws - until the image merges with dragons, the typical figures of medieval visionary spirituality widely found throughout Europe (on this topic and much more, see: Baltrušaitis, J., Il Medioevo fantastico. Antichità ed esotismi nell’arte gotica, Gli Adelphi 1997). In Italy during the 15th and 16th centuries, the revival of classicism - representative of the humanistic and Renaissance periods - led to a different reading of these "creatures". Indeed, the sea monster was also to find widespread use as an isolated decorative motif, especially in numerous fountains and sculptures where dolphins or sea monsters were used as a characterizing element linked to water (on this theme see: Chet Van Duzer, Sea Monsters on Medieval and Renaissance Maps, London, The British library, 2013). From the morphological point of view, the "sea monsters" of this period are mostly depicted as hybrid figures, in which the body of a mythological or real being (a hippocampus, a sea snake, a dolphin), is joined to a head with a rather indistinct appearance. It was usually characterized by large upright ears, an elongated snout, sharp teeth and globular, protruding eyes; a complex and indefinite figure, both from the symbolic point of view and from that of its genesis. The work we are examining is placed as a cross between the medieval sea serpent and the Renaissance dolphin, with stylistic features which recall the snake as often used in heraldry (such as the "snake" depicted in the coat of arms of the Visconti - the lords and then dukes of Milan between 1277 and 1447 - and which, for some, may be derived from the representations of the “Pistrice” that swallowed Jonah). In the search for sources, Renaissance cartography and in particular woodcuts should not be neglected. See for example the monsters of Olaus Magnus, from the editions of the “Historia de gentibus septentrionalibus” (“History of the peoples of the north”) and the natural histories of Conrad Gesner, Ulisse...

Italian traditional Impruneta terracotta fruit baskets: Cesto di Frutta. Woven motif on the baskets, Florence, Italy. Circa 1920. Lichen patina. Set of 2available with slightly diff...

This nicely detailed walnut Italian cassone or chest is from the late 17th century approx. circa 1680 to 1700. Formally part of the collection of a Frick museum board member the piec...

Lovely little oak beguinage cabinet from the Renaissance period of the 17th century. Very beautiful piece of furniture which has an interesting dimension which is composed of a small...

Seated White Deer in Landscape, Signed O. Millar, after Wilton Diptych Wilton Diptych Variation, Seated White Deer in Landscape, Signed O. Millar Oil on canvas, 40 inches by 50 inch...

A wonderful and rare walnut credenza or sideboard, heavy patinated, original unrestored finish and original hardware. The hand-carved moldings and classic. Ionic swags above fluted ...

This outstanding Tonnerre stone fireplace is a masterpiece of the first French Renaissance. It was sculpted in 1534, under the reign of King François the 1st for Philippe Merlan (1503-1546), Baron of Montpont, Lord of Jully-lez-Arnay-le-Duc. This monumental fireplace...

Italian Renaissance style (19/20th Century) gold velvet hanging banner with damask and embroidered curved bottom

Large Renaissance style painted porcelain plaque German, 20th century Frame: Height 50cm, width 64cm, depth 6cm Plaque: Height 34cm, width 49cm, depth 0.5cm In this beautifully painted porcelain plaque, a young woman in fine aristocratic clothing sits in a dark Renaissance style interior scene. She sits in a gold armchair, covered in ornate floral upholstery, stretching out her arm to pluck a rose from a bouquet of flowers on the table beside her. Behind her is a landscape painting with red velvet...

17th century French leather coffer, chest or trunk with nailhead detail from burgundy on newer wooden base.   

Frans Franken III and aid, Adoration of the Magi Good condition The oil painting on wood, with a gold background, depicts an Adoration of the Magi. The Magi are dressed in sumptuous silk and brocade dresses; they wear precious hats and jewelery. The richness of their garments is in contrast with the humility of the Holy Family and of the other characters who, around curious, observe the scene. The hut is simple, made of wood and straw: above it shines the Comet, symbol of the divine event. In the distance, a group of wayfarers walk along a path that is lost on the horizon, blending into the gold of the bottom. The representation proposes a traditional iconography, in which the painter inserts some details that he lends himself to symbolic interpretations. Among these is the appearance of the Magi, who from the XIVth century differs iconographically: the wise astronomers represent the homage to Jesus of the then known parts of the world, namely Africa, Asia and Europe. To the right of the Magi, in the foreground, sits a monkey, considered a demonic creature and a symbol of lies and sin. It is depicted on the sidelines, as a defeat, next to a fragment of a classical column: ruin alludes to the end of paganism, of the old world that collapses with the advent of the new one, marked by the birth of Christ and liberation from the Original Sin. On the ruins he climbs the ivy, symbol of the immortality of the soul. The work is attributable to the workshop of the Flemish painter Frans Francken III...

An incredibly unique find on a hill top Villa in Turin, this cabinet has resided in the same home since its creation and hence is in remarkably good condition. The drawings and pain...

This is a patinated bronze large round Tazza urn with pedestal. There is a mask of Bacchus with hair made of grapes leaves and ram horns over his head adorni...

Pair of 1700s Italian Wall Decorative Panels, a pair of blue laquer vertical frieze dating back to late 18th century, with a stunning  hand-carved gilded relief  candelabra decoratio...

A stunning and very high quality French 19th century Renaissance st. Ormolu and patinated Bronze chandelier. This impressive twelve arm chandelier is centered around a topie shaped b...

Antique French Renaissance "Le Force & Le Pouvoir" Spelter Metal Sculptures Raised on Wooden Bases - a Pair. Circa Early 20th Century. Measurements: 27" H x 9" W x 5.25" D.

Important antique Renaissance style fireplace made ouf ot carved walnut. The hood is adorned with a large oil on canvas depicting a Renaissance ball scene after the Italian-Swiss painter Giovanni Andrea Casella (see inscriptions found on the back). Casella was born in Lugano, Switzerland, in 1619. He is active in the Italian Piedmont where he is a student of Pietro Da Cortona. He is famous from 1642 and realizes masterpieces for the Castello di Rivoli, the Royal Palace of Turin and the Duomo of Turin (Cathedral of the city). For the Duomo, he performed the painting of Saint-Côme and Saint-Damien on the sixth altar. He is also very active in Switzerland, his native country, where he works with his nephew Giacomo. Both painted in 1662 the two lateral frescoes of the choir of the Church of St. Roch in Lugano. This chimney is composed of old carved walnut elements dating from the 17th century, which were reassembled during the 19th century. The jambs are decorated with carved terms...

An impressive marble bust of "Rebecca at the Well" after Antonio Piazza (Italian 1875-1925). The sculpture is executed in a beautiful beige marble showcasing Rebekah with her arms ...

A large and rare Venetian Renaissance antique fireplace mantel from the fifteenth century. This extremely rare chimneypiece is carved in Pietra d’...

ANTIQUE AUSTRIAN DECANTER AND CORDIAL GLASSES Hand-blown pinched clear glass decanter and four matching cordial glasses. Profusely decorated by ha...

Pair of Italian Renaissance style green patinated bronze figure of horse walking (from a series of 1,000 titled: "Cavalli di San Marco II", signed by L...

Beautiful Italian black painted wood towel rack or quilt stand with globe turnings and feet. This towel rack or quilt stand is one of those handy piece...

Provenance: Oudenaarde manufacture, Flanders, Mid-16th Century Tapestry wool and silk texture Dimensions 340/330 x 340/338cm Extremely rare piece In good condition Washed and lined It is a typical Flemish tapestry "with large leaves", well preserved, woven with green, yellow and brown yarns whose colors have remained fresh and intense. The market and collectors in recent decades have greatly re-evaluated tapestries with "large leaves", appreciating their high decorative value and ability to blend in with modern furnishings. Our tapestry belongs to a very particular subcategory of the "feuille de...

18th Century Rustic Renaissance Two-Tiered Cabinet is the perfect solution for more storage in style! Hand-crafted from solid oak, it features a subtly recessed upper tier flanked b...

Elegant Venetian mirror made in the strictest Murano tradition with rich bands carefully engraved by hand. All assembled with crystal elements handmade in the Murano furnaces. Wooden...

Large Renaissance Style Figural Lion Carved Wood Paw Feet Throne Chair. Item features a large impressive size, ornate lion heads and paw feet, nicely carved details, very nice item, ...

A pair of antique gilt bronze fireplace andirons in renaissance style. Coups with on top flames, flanked with ram heads, resting on lions...

Tuscany Renaissance table with six chairs by Michele Bonciani in hand-carved walnut in original conditions, polished to wax. The upholstery of the chairs is still usable. We can mak...

Inkwell Calamelli workshop (attr.). Faenza, second half of the 16th century Height 4.33 in; length 8.07 in; depth 2.95 in (11 cm; 20.5 cm; 7.5 cm) Weight: 0.800 lb (363 g) State of conservation: some chipping to the top of the mask around the mouth. Handle glued, without any restorations; minor chips in some raised areas. This object has the shape of a foot wearing Greek-style footwear, as can be seen in some raised areas. The foot is anatomically modeled with bare toes, while the ankle is partially covered by the footwear. On the heel, there is a small circular handle to support the object. The mouth of the container is shaped like a mask. The interior, completely enameled, suggests that the piece was intended to be used as an inkwell or to contain some other liquid. The base, however, is not enamelled. The painted decoration, scant and brief, consists of rapid cobalt blue shading between the toes of the foot, with more precise emphasis on the nails. It is accompanied by yellow citrine accents to enhance the forms. The mask is painted with the tip of the brush, to accentuate the tense nature of the eyes and to accentuate their outline. Thin strokes of yellow-orange line the interior of the mouth. Since the Renaissance, this decoration has been referred to as "compendiaria" and it characterizes the period of production extending from the mid-16th century to approximately the middle of the following century. It significantly influenced tastes at the time. It evolved from the polychrome style "istoriato" and transformed into a new style that "summarized" (compendia), or condensed, the ornamentation of the works into a few colors, placing greater prominence on the shapes. It was often inspired by metal specimens. Since the Renaissance, this decoration has been referred to as "compendiaria" and it characterizes the period of production extending from the mid-16th century to approximately the middle of the following century. It significantly influenced tastes at the time. It evolved from the polychrome style "istoriato" and transformed into a new style that "summarized" (compendia), or condensed, the ornamentation of the works into a few colors, placing greater prominence on the shapes. It was often inspired by metal specimens. This artwork finds parallels in similar objects all characterized by this refined style and produced in the city of Faenza and other Italian centers starting from the mid-16th century. The closest comparable example in majolica is a foot acquired by the British Museum in 2011 (inv. 2011, 8008.1). This was previously published by Carmen Ravanelli Guidotti in 1996 and later by Dora Thornton in 2016 during the conference on Renaissance ceramics...

A large and impressive 17th century European cabinet. Made in two parts, both with elaborate carved decoration and burled panels and details. The upper cabinet with heavy overhanging...

A terracotta bust "Ecce Homo" Florence, 15th century 53 x 44 x 31 cm

Pair of Italian Renaissance-style (19/20th Century) wrought iron exterior wall lanterns with 4 filigree panels supported by a scroll design wall ...

During the first half of the seventeenth century chairs evolve towards a new model today known as Louis XIII foreshadowing the armchair. Chairs adopt a widen and lower silhouette. Horizontal lines prevail. Cushions disappear supplanted by horse hair upholstery. This chair stands on four feet linked by an H-shaped spacer and a frontal cross-bar. Legs, spacers, cross-bar and arm-rests are all turned as rosary beads...

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...