16th Century Furniture

Oil on poplar panel portraying the Holy Family. Tuscany or Umbria, circa 1500-1520. The Holy Family is the name given to the family formed by Jesus of Nazareth...

A wonderful example of a 16th Century Sawankhalok jar from a Shipwreck off the Coast of the Indonesian Island of Batam. Batam was one of the most substantial and influential ports in...

Explore the timeless beauty of our intricately crafted sculpture featuring Mary adorned in a graceful mantle that elegantly envelops her form. This exquisite Virgin sculpture is meti...

An original antique burgundy hard stone bloc with a central lower part. Perfect to be used as a tabletop or for a Wabi Sabi spirit fireplace base and ca...

A bowl made around the 16th century in Vietnam. In Japan, trade with Vietnam has been active since the Muromachi period (around the 16th century). Many Vietnamese bowls have also bee...

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...

Unusual and Chinese Ming period Swatow Charger with beautiful scene of cranes. It is reverse decorated. The stand is not included. Additional information: Material: Porcelain & Pot...

Important antique solid table from the 16th century. Characterized by a simple and rustic line in solid oak wood for the legs and a single walnut board for the top. These tables were...

Wooden sculpture depicting Saint James the Greater. Saint James was an apostle of Jesus and witnessed with Peter the Transfiguration, the resurrection of Jairus' daughter and the ni...

A silver finger ring showcasing the excellence of Ottoman craftsmanship. The flat hoop remains undecorated, whilst the dome-shaped bezel features raised ropework borders and fine gra...

A 16th Century French Renaissance Cavred Walnut Buffet Loire Valley Dimensions: H. 1m62; L. 1m02; P. 0.52m. (63.78 in. x 40.16 in x 20....

A very nicely decorated Ming period Swatow or Zhangzhou porcelain dish with Chilong These small dishes would have been used for the Japanese tea ceremony meal, the Kaiseki. Kaiseki...

Unique and wonderful folk art coat of arms, Depicting a eagle holding a rabbit, two crosses and two castle's and on the top a grotesque head. This beautiful period piece is made out ...

Rare and nicely decorated dish. Very unusual decoration and superb quality of painting and potting. Ca 1595-1645. Truly nice cobalt blue color See: Maura Rinaldi: "Kraak Porcelain...

Annamese Blue and White Ceramic Dish, Bird Design, Hoi An Hoard, Chu Dau kiln, Vietnam, circa 1500. The sturdily potted form has a raised rim decorated in unde...

Good Condition, Original Design Modified.

Ghostly Gargoyle or Water Spout fragment in Pierre de Bourgogne (Limestone). Mounted to the top of generally religious buildings to ensure water is taken away from the side of the bu...

Good Condition, Original Design Modified.

A bronze bowl shape vessel with fitted lid from Korean dated to 15-16th century (early Joseon Dynasty). In an elegant minimalistic form with thin wall and supported by a high foot ri...

Pair Of Istrian Stone Columns, Venice 16th Century

16th Century Bust of Roman Emperor Julius Caesar in bronze with brown patina.

Tower clock lacquered with gilded and polichromed chinoiserie on a green lacquer background. The tunk is painted with scenes of landscapes with pagodas surrounded by garden where the...

Probably Kirman, 16th/17th Century, Persia. Of Low rounded profile, on short a foot and with sloping rim, this Kirman lavender-blue dish with white slip decoration and stylized flora...

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...

The trapezoidal armchair is a typically French creation from the second half of the sixteenth century. Although the nineteenth century gave it the name of "caquetoire", it was descri...

This is black glazed pottery made in Korea from around the 15th to 16th century. This era in Korea is called the Joseon Dynasty. This black glazed pottery was only produced for a sho...

This is a terracotta olive jar from central Spain. It has a wonderful aged patina with chalky painted finish. It makes a great statement as a sculpture in a room on a pedestal, alone...

Rare and impressive PERIOD Elizabethan dining table of substantial size. The top is made from four planks, and is banded at the ends to prevent shrinkage. The apron is hand carved ...

A very nicely decorated plate with a scene of an ancient coin and flowers. Late Ming Additional information: Material: Porcelain & Pottery Type: Plates Region of Origin: China Perio...

A very nicely decorated plate with a scene of an ancient coin and flowers. Late Ming. Additional information: Material: Porcelain & Pottery Type: Plates Region of Origin: China Coun...

A large Chinese Tang Dynasty Seated pottery figure  Tang Dynasty circa Circa AD 618 - 906 China, Finely sculpted Black earthenware sculpture of a court lady with remains of pigme...

16/17thC Korean Baby Buddha pointing to heaven and earth. It is dated to the 16C. Great condition only condition issue is the loss of one index finger, which is common for this form ...

A historic medieval antique hand colored woodcut titled “Maximillian Pageant” by Hans Burgkmair. Posthumous print, circa 1580. Hans Burgkmair crea...

16th century Brussels tapestry The Story of David Brabant, 16th Century Monogram at the bottom left. 320 x 250 cm This splendid Brussels tapestry, crafted from wool and silk during ...

Japanese Buddhist assembled wood sculpture of Kannon-Bosatsu (Avalokitesvara), the God of Compassion, standing male figure with abundant cloak draper...

Pair of 17th Century Gilt silver framed saints. Silver saints are draped in period clothing and holding a book, against a red fabric background with ...

Spanish Renaissance casket, 16th century In carved, polychrome and gilded wood decorated with a vase with horns of plenty, heads of cherubs and fruits. In the lock a shield with two ...

In a realm where time stands still, there exists a 16th-century masterpiece, a sculpture of unparalleled beauty that transports you to the heart of the Ming dynasty. Here, in a place...

Large Silver “Jambiya” or Curved Dagger With Its Sheath. These are often Extremely well Crafted with Extraordinary inlaid Silver Designs accentuated with “Neillo”. This Inlaid Handl...

Small Silver “Jambiya” or Curved Dagger With Its Sheath. These are often Extremely well Crafted with Extraordinary inlaid Silver Designs accentuated with “Neillo”. This Inlaid Handl...

This extremely rare unique ancient Wooden Box with Judaical Religious Items inside was found behind a stone wall in Vienna (Austria), most likely hidden before the World War II. The ...

Original Pierre Jeanneret v-leg sofa set with 2 armchairs in black hide (Admn.(L.)031) Swiss-born architect and furniture designer Pierre Jeanneret (1896-1...

In the heart of ancient China, within the resplendent Ming dynasty, a masterpiece was cast in bronze, a testament to a culture steeped in mysticism and spirituality. This Taoist bron...

Slightly lobed dish with flared rim with blue decoration under cover of two deers. Tiny chips on the border (usual for porcelain from this period), otherwise perfect condition ! Chin...

A very nice and rare bowl with central scene of a bird in a landscape. Additional information: Material: Porcelain & Pottery Region of Origin: China Period: 17th century Ming (1368 ...

The very expressive Virgin, in a strictly upright posture, carries the child Jesus on her (damaged) left arm. In her right hand, she holds the shaft of a scepter. She looks at the ob...

Lion of Forge, Spain, 16th century In forging, measurements: 10 x 17 x 5 cm Good condition Spanish private collection.

Late 16th C. Spanish Walnut Table with Iron Pulls Walnut, iron H: 32 D: 29.5 W: 55.5 in. Incredible Iron pools & Hand Carved Drawers

Woodcut print on paper, a reproduction of an original 1510 artwork titled Beheading of John the Baptist by Albrecht Durer, 1471 to 1528, a German painter and printmaker of the Northern Renaissance. The print depicts an executioner holding the head of St. John, which Salome waits to receive on a plate. Monogram AD...

A very nice and rare bowl with central scene of a bird in a landscape. Great piece; In good condition. Additional information: Material: Porcelain & Pottery Region of Origin: China ...

Italian school table of the 16th century "Crucified Christ with the Virgin, Saint John and Mary Magdalene" Oil on board Period frame 16th century ( gold frame parts ) Measures: 41cm ...

SMALL TUSCANY TABLE FROM THE RENAISSANCE PERIOD ORIGIN : FLORENCE, ITALY PERIOD : 16th CENTURY Height: 69,4 cm Length: 59,4 cm Depth: 51 cm ...

Majestic and Large Chinese Ming period Swatow Charger with beautiful scene of a landscape with pagodes and Fenghuang/Phoenixes. The stand is not included. Additional information: Ma...

Beautiful dish in blue and white. This is a Jingdezhen made dish made for the Japanese market. Kosometsuke. Central scene of Liu Hai and the toad. No mark Ad...

A collection of three bronze bowls from Korean dated to 14-17th century (late Goryeo to early Joseon Dynasty). It consists of an early example with a slight curvy wall and a high foo...

This chest drawers in the form of a stairway (Kaidan Tansu) during Edo period (H208cm,W60cm, D137.5cm), and could be displayed separately in two parts. Th...

Friar armchair. Leather, walnut wood. Spain, 16th century. Armchair with arms and high back of the type known as “frailero”, which has studded leather on the seat and upper part of ...

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...