16th Century Furniture

This is a nice size capital from Italy. Normally these were top a column inside cathedrals throughout the world. It’s beautifully hand carved by an artesian out of wood. The gold gil...

Fine Chinese pottery with decorations, 15 / 16th century.

Late 16th century Venetian cedar wood cassone wedding chest featuring finely detailed carving in the champleve decorative style on both the front...

A Late 16th Century Flemish Mythological Tapestry Panel. This vertically oriented decorative tapestry panel depicts a mythological female figure at top, standing within an elaborate ...

Exceptional museum quality, Italian, renaissance walnut cassettone with fitted bureau in the upper part & exceptional Bambocci carving, Lombardy. This magnificent cassettone exudes the character and quality of the finest, late-Renaissance furniture. Late 16th century, Northern Italian furniture often had the sides, legs or angles, 'a Bambocci', incorporating carved figures which were unique sculptures in their own right. The putti on this cassettone are beautifully carved and of sculptural quality. Each angel has one arm raised to heaven, a poignant touch. Showing customary signs of wear from time, the lion’s paw feet make a great statement. This cassettone was conceived to have visual impact through the quality of the carving, as well as being very practical with the writing compartment fitted in the top part. It has survived in very original condition with a few small repairs and losses, and the color and patina are warm and lustrous. This cassettone was illustrated in one of the seminal works on Lombardy furniture in the 1969 and has been in two renowned collections. The hinged top in two sections faced with a solid moulded edge. The front part has a fall front and opens to reveal a writing compartment. The fall front retains its original lock and is concealed with a false drawer which is above three drawers. All with moulded panels, escutcheons and retaining the original iron handles. The front ends have exceptional, bambocci, carved putti raising their arms to heaven above trailing foliage. Standing on magnificent lion...

This sculpture has taken on a different character over time as it has weathered and the detailing has softened. Time has given it a pared down, minimalist quality juxtaposing the R...

Beautiful Renaissance walnut armchair. Origin: Italy. Period: 16th Century. Dimensions: height: 110 cm. length: 66 cm. depth: 50 cm. Material: walnut wood. leather t...

Pair of reliefs. Carved, polychrome and gilt wood. Castilian school, 16th century. Pair of carved and polychrome wooden reliefs with figurative relig...

I really found something intriguing. This plate decorated with what are often seen as European houses. Something seen on Transitional Kraak plates and bowls. I borrowed a few picture...

Although when most people hear the word “gargoyle”, they probably envision small, winged creatures with grotesque visages. However, the phrase has a deeper meaning, encompassing any carved head (animal or human) that function as waterspouts. From the Early Renaissance (late 1400’s/early 1500’s), our gargoyle fountain spout features a human-like face with pointed ears, possibly representing a centaur or a satyr. The roughly rectangular block of marble was hand-carved in Arezzo, in the Tuscany region of Italy. All sides except the front of the cream-colored stone have a sawed finish, resulting in a rough texture. The back has been excavated, adding to the character of the gargoyle. A 1 ½” diameter hole has been cut all the way through, forming an open mouth of the gargoyle. The gaping mouth was often a symbol used to conjure images of devouring giants and used to remind people that they are susceptible to certain forces. Our 15th/16th century marble...

Material: bronze Measures: 45,4 cm high 27,3 cm wide and 16,8 cm deep Weight: 8.320 kgs With traces of 24 krt. gilding Bhumisparsha mudra Originating from Thailand 15-16th century Inscriptions translated by the 'Lanna Folk life Museum, Chiang Mai' : Dated 400-500 years old, ""Late Mang-Rayi Third Period"" Inscriptions translated : Maha Ubataeka Tura Sattha - had this Buddha image...

Large Oil On Canvas, Flemish School, XVIIth Century LARGE OIL ON CANVAS, FLEMISH SCHOOL, 17TH CENTURY LARGE FORMAT, OIL ON CANVAS FROM THE 17TH CENTURY APPARENTLY UNSIGNED. A FOLLOWE...

Ming Dynasty (16th century) pottery vase with vivid turquoise glaze, decorated with dragons. The vase is partially moulded, with circular bosses around the mouth rim and a hexagonal ...

500-600 year old sandstone carving. The sculpture is depicting 'Two demons riding on elephants'. From Buddha pagoda / temple in Arakan, Burma, 1400-1500. Untouched and in origin...

The socarrat is a slab of fired clay or thick tile, glazed in white and generally decorated in reddish or brownish and blackish tones, intended to be placed between beams, on roofs a...

16th century Spanish Bronze Mortar with Letters M on the Sides

The socarrat is a slab of fired clay or thick tile, glazed in white and generally decorated in reddish or brownish and blackish tones, intended to be placed between beams, on roofs a...

Woodcut Albrecht Dürer "Mary's Temple Walk": Strong expression in depth and color, good state of preservation. Spectacular piece of art. Wood cut on p...

SMALL RENAISSANCE CABINET ORIGIN: PROVENCE PERIOD: END OF THE 16th CENTURY Height: 175cm Length: 102cm Depth: 50cm Blond walnut This small cabin...

Small two-body buffet decorated with bird feathers ORIGIN : FRANCE PERIOD : 16th CENTURY Measures: height: 170 cm length: 106 cm depth: 51 cm Walnut wood This cha...

Material: wood 46 cm high 28,5 cm wide and 20,5 cm deep Weight: 4.260 kgs With traces of the original 24 krt. gold Ava style Bhumisparsha mudra Originating from Burma 16th c...

Mechelen dolls are rare wooden devotional figurines (mainly walnut was used), which were made by some members of the Guild of Saint Luke. The figures, all individual saints, were made from reference models using highly regulated carving and polychrome techniques. They had to meet several requirements. The shape of the rug had to meet certain criteria and the letter M (from Mechelen) had to be visible in the shape. These devotional or saint figurines...

400-500 years old hand carved sandstone sculpture of a standning Buddha flanked by a munk and a mythical animal. Originates from pagoda / temple in Ara...

The socarrat is a slab of fired clay or thick tile, glazed in white and generally decorated in reddish or brownish and blackish tones, intended to be placed between beams, on roofs a...

Garden window archway made of Limestone. Originates from France. Circa, 16th century.

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...

The Massacre of the Innocents Carved oak panel Normandy, late 16th century (Collection labels on the back) Measures: 43,5 x 61 cm.  

Material: bronze 32,3 cm high 18,5 cm wide and 10,5 cm deep Weight: 2.833 kgs Bhumisparsha mudra Originating from Thailand 16th century With confirmed TL-test, see pictures A special Buddha...

An authentic, ancient and exceptional Three Jina Shrine. For it’s age the altarpiece is in a very good condition and rather large. The image of three standing, nude Jinas flanked by the other 21 seated Jinas is rare. The lintel of the shrine is showing the nine comets and three seated figures...

Acquareccia plate Patanazzi workshop Urbino, last quarter of the 16th century It measures diameter 17.12 in; foot diameter 11.53 in; height 1.88 in (43.5 cm; 29.3 cm; 4.8 cm). Weight State of conservation: wear and a few small minimal detachments of enamel, chipping on the raised areas, peeling of enamel at the brim on the back. This large, shallow basin is equipped with a wide and convex well. It is umbonate with a contoured center. The brim, short and flat, is enclosed in a double rounded and barely raised edge. The basin has a flat base without rims; it has a slightly concave center in correspondence to the well. The shape takes inspiration from the basins associated with the metal forged amphora pourers that traditionally adorned the credenza. These were used from the Middle Ages to wash hands during banquets. Two or three people washed their hands in the same basin and it was considered an honor to wash one’s hands with an illustrious person. The decoration is arranged in concentric bands with, in the center of the umbo, an unidentified shield on a blue background: an oval banded in gold with a blue head, a gold star and a field with a burning pitcher. Rings of faux pods separate the center from a series of grotesque motifs of small birds and masks. These go around the basin and are, in fact, faithfully repeated on the brim. The main decoration develops inside the flounce of the basin, which sees alternating symmetrical figures of winged harpies and chimeras. The ornamentation, outlined in orange, green and blue, stands out against the white enamel background. This decorative style, defined since the Renaissance as “grottesche” or “raffaellesche”, refers to the decorations introduced after the discovery of the paintings of the Domus Aurea towards the end of the fifteenth century. The discovery of Nero's palace, buried inside Colle Oppio by damnatio memoriae, occurred by chance when a young Roman, in 1480, fell into a large crack which had opened in the ground on the hill, thus finding himself in a cave with walls covered with painted figures. The great artists present in the papal city, including Pinturicchio, Ghirlandaio, Raffaello, immediately visited these caves. The decorations found there soon became a decorative subject of immense success: the term grotesque , with the meaning of “unusual,” “caricatured,” or “monstrous,” was later commented by Vasari in 1550 as “una spezie di pittura licenziose e ridicole molto”( “a very licentious and ridiculous kind of painting”). The decorations “a grottesche” also widely circulated in ceramic factories, through the use of engravings, variously interpreted according to the creativity of the artists or the requests of the client. Our basin is reflected in similar artifacts produced at the end of the sixteenth century by the factories of the Urbino district. See the series of basins preserved in the main French museums, among which the closest in morphology is that of the Campana collection of the Louvre (Inv. OA1496); this however has a more complex figure decoration, while the decoration of our specimen is sober and with a watercolor style. The style, sure in its execution, approaches decorative results still close to the works produced around the middle of the sixteenth century by the Fontana workshop. The decoration is closely linked to their taste, which later finds its natural outlet, through the work of Antonio, also in the Patanazzi workshop. Studies show the contiguity between the two workshops due to the kinship and collaboration between the masters Orazio Fontana and Antonio Patanazzi, both trained in the workshop of Guido Fontana il Durantino. It is therefore almost natural that their works, often created according to similar typologies and under the aegis of the same commissions, are not always easily distinguishable, so much so that the presence of historiated or “grottesche” works by Orazio is documented and preserved in Antonio Patanazzi's workshop. Given that the studies have always emphasized the collaboration between several hands in the context of the shops, it is known that the most ancient “grottesche” works thus far known, can be dated from 1560, when the Fontana shop created the so-called Servizio Spagnolo (Spanish Service) and how, from that moment on, this ornamentation became one of the most requested by high-ranking clients. We remember the works created for the Granduchi di Toscana, when Flaminio Fontana along with his uncle Orazio supplied ceramics to Florence, and, later, other commissions of considerable importance: those for the service of the Duchi d’Este or for the Messina Farmacia of Roccavaldina, associated with the Patanazzi workshop when, now after 1580, Antonio Patanazzi began to sign his own work. Thus, in our basin, the presence of masks hanging from garlands, a theme of more ancient memory, is associated in the work with more advanced stylistic motifs, such as the hatching of the chimeras and harpies. These are found here on the front with the wings painted in two ornate ways. In addition, the theme of the birds on the edge completes the decoration along the thin brim and can be seen as representing an early style typical of the Urbino district during a period of activity and collaboration between the two workshops. Later, a more “doll-like” decorative choice, typical of the end of the century and the beginning of the seventeenth century, characterized the period of the Patanazzi workshop under the direction of Francesco. Bibliography: Philippe Morel, Il funzionamento simbolico e la critica delle grottesche nella seconda metà del Cinquecento, in: Marcello Fagiolo, (a cura di), Roma e...

The socarrat is a slab of fired clay or thick tile, glazed in white and generally decorated in reddish or brownish and blackish tones, intended to be placed between beams, on roofs a...

16th Century Spanish wrought iron handle.

This antique bronze Buddha statue is a truly unique and special collectible piece. Standing at 51 cm high, 34 cm wide, and 21 cm deep, it is made of bronze and it weighs 11.18 kgs. T...

Bronze mortar with garlands, flowers and putti - Tuscany , second half of 17th century. Measures: height 10 diameter : 13 cm Artisans and healers used mortars for grinding food...

Material: bronze 60 cm high 34,5 cm wide and 22,3 cm deep Weight: 12.4 kgs Bhumisparsha mudra Originating from Laos 16th century With inlaid eyes of mother-of-pearl Long nec...

Material: wood, Measures: 70 cm high 40 cm wide. Weight: 12.3 kgs. Ava style. Bhumisparsha mudra. Originating from Burma. 16th Century - early Ava period. A very good piece,...

First State. Unidentified woodcut artist for Konrad Gesner (aka Conrad Gesner; Philiatrus Euonymus) (1516–1565) Fine folio woodcut leaf. With uncoloured second woodcut to verso...

Material: wood 57 cm high 31 cm wide Weight: 5.6 kgs Bhumisparsha mudra Originating from Burma 16th Century Traces of gold can be found.  

Outstanding woodcut of a Sea Creature, clearly based on a second hand description of a Frogfish Unidentified woodcut artist for Konrad Gesner (aka Conrad Gesner; Philiatrus Euonym...

Beautiful small chest of drawers with four drawers in carved walnut with tiles both on the drawers and on the sides. Typical Tuscan cabinet-making from the end of the 16th century, ...

Solid pine Bombay chest of drawers made in 90’s in the modernized style of Baroque. It has been coated with organic soap finish.

This antique bronze Buddha statue is a truly unique and special collectible piece. Standing at 36 cm high, 18 cm wide and 12 cm deep, it is made of bronze and it weighs 2.484 kgs. Th...

Material: wood 59 cm high 39,5 cm wide and 27,5 cm deep Weight: 9.95 kgs With traces of 24 krt. gold Bhumisparsha mudra Originating from Burma 15-16th century From the Pinya...

Material: bronze 24 cm high 15,5 cm wide and 12 cm deep Weight: 1.911 kgs Ava style Bhumisparsha mudra Originating from Burma 15-16th century In very good condition - no cra...

Material: bronze 48,5 cm high 22 cm wide and 15,5 cm deep Weight: 5.632 kgs With light traces of 24 krt. gilding Ava style Varada mudra Originating from Burma 16th Century ...

RARE PAIR OF FIREDOGS ORIGIN : FRANCE PERIOD : 16th CENTURY, HENRI II Measures: height: 78 cm 30 ¾ in width : 24 cm depth : 61 cm Origina...

Important large mantle fireplace, original in hand-carved Burgundy stone, built in the middle of the 16th century and of French origin, it comes from a ru...

Material: bronze 34,8 cm high 19 cm wide and 14,2 cm deep Weight: 4.492 kgs With traces of 24 krt. gold Mon style Dhyana mudra Originating from Burma 15-16th century Specia...

Material: wood 73 cm high 40,5 cm wide - 19 cm deep Weight: 10.05 kgs With remains of the original 24 krt. gildings Ava style Bhumisparsha mudra Originating from Burma 16th ...

It is "Shigaraki ware". Shigaraki is a historical kiln located in Shiga Prefecture, Japan. It is said to have originated in the 8th century. In Japan, there are 6 historical kilns that are still in operation. One of them. This is a vase made around 1573-1603. We often see jars like this in Shigaraki ware, but vases with a lot of natural glaze like this are very rare. Not all jars are in this state, and this phenomenon occurs due to the overlap of various factors such as the place where the pottery is placed in the pot, the force and temperature of the flame, the direction of the wind, etc. . In particular, this one has a lot of burnt ash sticking to it on one side, giving it a lava-like surface, and the other side has melted ash, and the glassy natural glaze draws beautiful lines and hangs down. This is truly an art of nature...

Material: wood 48,8 cm high 29,8 cm wide and 19,3 cm deep Weight: 5.159 kgs With traces of 24 krt. gilding Bhumisparsha mudra Originating from Burma 16th century - Pinya styl...

Rare basin (We think it was the basin to wash the feet on hollyThursday) in brass Rare plat of the german renaissance since it is rather a basin which is much rarer than a offering basket...

An absolutely stunning Bizen ware stoneware vase/jar/vessel - produced sometime during the late Momoyama period (1568-1600) / Early Edo Period (1603-1867). Bizen yaki...

16th century German Gothic fireback with a religious theme. The fireback is made of cast iron and has a black / pewter patina. The condition is good, n...

Beautiful fireback from the 16th century with fretwork contours. Under the central arch adorned with a leonine mask, two figures disguised as Mars and Venus are entwined. They are part of an architectural construction composed of a facade rhythmed with canephoric terms and crowned with a triangular pediment. The plaque bears the coat of arms of Germain Du Val...

Very rare Ming dynasty porcelain ewer with ottoman gem-set tombak mounts Chinese and Turkish, 16th/17th century Measures: Tombak: height 20cm,...

A rare pair of carved sandstone Burmese temple guards. Originates from paragode in Burma c. 15-17th century. Handcarved with fine details. Each guard ...

A magnificent Biblical tapestry in wool and silk likely made in the Flemish weaving center of Oudenaarde. With a history of tapestry production dating to 1368, the city created some of the finest tapestries of late Medieval and Renaissance Europe that were widely sought after across the continent. The 16th century...