{"title":"10.26 16th Century Treasures","description":null,"products":[{"product_id":"elizabethan-silver-coconut-goblet","title":"Elizabethan Silver Coconut Goblet","description":"A coconut serves as the body of this exceptionally rare 16th-century silver goblet. Crafted during a period when coconuts were considered an extravagant novelty in England, this example is supported by highly decorative, engraved sterling silver that is in itself extremely precious. Silver objects from the 16th century are seldom found outside the confines of museums due to two historically significant events. The first occurred during the successful uprising of Oliver Cromwell against Charles I and Parliament in the mid-17th century. Cromwell decreed that all silver objects be surrendered to his forces and destroyed after discovering that his opposition was financed largely by silver. Later, the Great Fire of 1666 destroyed much of London, including a majority of its silver and the records of registered silversmiths. Pieces crafted prior to these tragic events are extremely scarce and highly desirable. This extraordinary goblet represents the small number of pre-Cromwellian English silver objects, especially from the 1500s, known to exist. \u003cbr\u003e\u003cbr\u003e First popular in the late 15th and early 16th century throughout Europe, coconuts were once believed to possess healing powers and were used in cups such as this to detect and deter poison. As more trade routes opened up during the 16th century, coconuts became more widely available, though still only afforded to a wealthy minority in Europe and England. A cup such as this that has been so masterfully encased in sterling would most certainly have been in the possession of royalty or nobility. Similar silver-mounted coconut cups can be found in the most respected museum collections, including the Gilbert Collection. \u003cbr\u003e\u003cbr\u003e Hallmarked London, 1589 with the maker’s mark ‘B’ \u003cbr\u003e\u003cbr\u003e 2 7\/8\" diameter x 7 3\/4\" high","brand":"M.S. Rau","offers":[{"title":"Default Title","offer_id":43873744912519,"sku":"31-2960","price":64500.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0083\/2471\/0466\/files\/31-2960_1.png?v=1792172504"},{"product_id":"francis-i-renaissance-sideboard-1","title":"Francis I Renaissance Sideboard","description":"This astonishing 16th-century dressoir, or sideboard, was crafted in Lyon during the height of the French Renaissance. It is one of just three known examples of its kind and the only not presently held in a museum collection. It was originally one of a pair, and its mate is a prized possession of the famed \u003ca href=\"https:\/\/rauantiques.my.salesforce.com\/sfc\/p\/A0000000JY02\/a\/8X000000MoTs\/vxkOeRhbDs6VHWh_LTUiTDvGZhQRD6xFFIfl3cPAQRs\" target=\"_blank\"\u003eFrick Collection in New York\u003c\/a\u003e; a third smaller cabinet can be found in the Victoria and Albert Museum (London). \u003cbr\u003e\u003cbr\u003e Masterfully executed, the dressoir's exterior is crafted entirely of rich walnut, with a sturdy oak interior. The elaborate carvings offer a visual compendium of the decorative motifs found in the art of the French Renaissance, from satyrs and harpies to female terms and masks, as well as decorative strapwork. First emerging at the court of Francis I in the 1530s, this style became increasingly playful over the decades, as demonstrated by the charming and whimsical design of this dressoir. In terms of craftsmanship and quality, it remains in impeccable condition, considering it was crafted over 425 years ago.  \u003cbr\u003e\u003cbr\u003e Paperwork in the Frick Collection archives lends insight into the history of the sideboard, as well as its mate. The matching dressoir was purchased by the legendary Henry Clay Frick and first reappeared in 1855 in a restorer’s workshop in Marseilles. The two sideboards were almost certainly still a pair at that time, and both likely underwent expert restoration. After restoration, the present dressoir disappeared - due to the relatively small size of homes during this era, many such pairs were split and sold as individual pieces of furniture.  \u003cbr\u003e\u003cbr\u003e The Frick’s dressoir entered a significant collection in Europe, where it was later bought by famed English dealer Sir Joseph Duveen. This collection of furnishings reportedly cost Duveen $1,500,000, and his purchase was reported by every major newspaper in the Western world. The star of the collection was the “16th-century cabinet,” and Duveen brought it to New York for Mr. Frick’s approval. Frick was immediately enamored with the piece and paid an incredible $110,000 for it in 1917. That price places the Frick dressoir among the most expensive pieces of furniture ever to sell in the history of the world. \u003cbr\u003e\u003cbr\u003e To find the mate to such an important and spectacular piece of furniture, particularly in such excellent condition, is truly a once-in-a-lifetime discovery. This dressoir is the absolute rarest, most important piece of furniture on the market today.  \u003cbr\u003e\u003cbr\u003e Circa 1575 \u003cbr\u003e\u003cbr\u003e 71 3\/4” wide x 23 1\/2” deep x 65 3\/8” high \u003cbr\u003e\u003cbr\u003e References:\u003cbr\u003e \u003cem\u003eThe Encyclopedia of Furniture,\u003c\/em\u003e 1965, Joseph Aronson \u003cem\u003eWorld Furniture,\u003c\/em\u003e 1988, Helena Hayward \u003cem\u003eFurniture in The Frick Collection: Italian and French Renaissance, French 18th and 19th Centuries, Volume V,\u003c\/em\u003e 1992, The Frick Collection \u003cem\u003eLe Meuble en France au XVI Siecle,\u003c\/em\u003e 1923, Edmond Bonnaffé \u003cbr\u003e\u003cbr\u003e \u003ca href=\"https:\/\/youtu.be\/GML1fTiDORc\" target=\"_blank\"\u003eClick here to view a video of this item.\u003c\/a\u003e \u003cbr\u003e\u003cbr\u003e Provenance:\u003cbr\u003e Private Collection, Connecticut\u003cbr\u003e M.S. Rau, New Orleans\u003cbr\u003e Private Collection, Wyoming\u003cbr\u003e M.S. Rau, New Orleans","brand":"M.S. Rau","offers":[{"title":"Default Title","offer_id":42849241497735,"sku":"31-4584","price":985000.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0083\/2471\/0466\/files\/31-4584_1.png?v=1750973212"},{"product_id":"the-tax-collectors-attributed-to-marinus-van-reymerswaele","title":"The Tax Collectors attributed to Marinus van Reymerswaele","description":"Marinus van Reymerswaele\u003cbr\u003e c.1490 – c.1546 | Dutch \u003cbr\u003e\u003cbr\u003e \u003cem\u003eThe Tax Collectors\u003c\/em\u003e \u003cbr\u003e\u003cbr\u003e Oil on wood panel \u003cbr\u003e\u003cbr\u003e Marinus van Reymerswaele stands among the greatest and most beloved artists of 16th-century Antwerp. Entitled \u003cem\u003eThe Tax Collectors\u003c\/em\u003e, this oil on board original exudes the technical skill and life-like vibrancy for which the artist is renowned.  \u003cbr\u003e\u003cbr\u003e In a quiet interior scene, two men sit at a green table covered in coins, jewels, and empty moneybags. While the man in the red turban-like head wrap calmly records transactions in his leger, his companion grimaces, still clutching an empty coin purse. A meticulous painter, Marinus takes care to painstakingly render each minute detail with tremendous accuracy. Marinus has precisely lined each fold in their garments and each wrinkle on the men’s faces and hands. He further demonstrates his skill by capturing the reflections of light within the reflective gemstones and brass candlestick. His treatment of the men’s faces is caricatured but still believable, setting up an excellent satire on the tax collectors. Overall, the artist has imbued the scene with a lifelike vibrancy with a bold palette and confident application of paint. For further explanation of the incredible details in this work of art, \u003ca href=\"https:\/\/msrauantiques2022.my.salesforce.com\/sfc\/p\/8c000000eEg1\/a\/Vb000000Yv2H\/VSt.9b3UYGfvaM2kT_jK2D33ojjfG7m9m_3tDKP_xVQ\" _blank\u003eplease see the pictorial key\u003c\/a\u003e. \u003cbr\u003e\u003cbr\u003e The economic and cultural boom of 16th-century Antwerp effectively made the once-small Flemish city the financial center of the world. The greatest artists from all over the continent were drawn to the prosperity and sophistication of Antwerp. Without a doubt, a scene of two misers would have been immediately recognizable to a 16th-century European. The subject was one of the most popular of its time, gracing the collections of queens, kings and private citizens alike. All would have understood the image as satirical, poking fun at the two tax collectors wearing gaudy, outdated clothing with contorted faces. During this period, the citizens of Antwerp would have paid their taxes directly to the Habsburg dynasty of the Holy Roman Empire, centered in Vienna, leading to discontent among those in Flanders. The sudden advent of capitalism and urbanism stirred uncertainty among many about the world’s future. Despite these political and economic grievances, viewers could share a laugh at Marinus’s painting depicting the two men who served this oft-despised role. \u003cbr\u003e\u003cbr\u003e Marinus van Reymerswaele, Dutch by birth, spent the majority of his life living and working in Antwerp. In 1509, he registered with the Antwerp Guild of St. Luke, cementing his position within the artistic fabric of the city by producing copies of beloved artworks. Nearly 500 years later, Marinus’s works reside in museums worldwide, including the Louvre in Paris, the National Gallery in London and the Museo del Prado in Madrid. One version resides in Windsor Castle, within the King’s private quarters, and the Royal Liechtenstein collection acquired its own in 2008. It, like ours, displays the same remarkable color and expressive faces that characterize our masterpiece. Of these comparable paintings, only the Royal Liechtenstein example is equal to ours in quality and condition. \u003cbr\u003e\u003cbr\u003e Circa 1540 \u003cbr\u003e\u003cbr\u003e Panel: 42\" high x 31 3\/4\" wide\u003cbr\u003e Frame: 48 1\/2\" high x 38 5\/8\" wide x 3 3\/4\" deep \u003cbr\u003e\u003cbr\u003e \u003ca href=\"https:\/\/rau-sfimages.s3.amazonaws.com\/dossier\/Dossier_31-5668.pdf\" target=\"new\"\u003e\u003cb\u003eView the Dossier\u003c\/b\u003e\u003c\/a\u003e \u003cbr\u003e\u003cbr\u003e This painting was exhibited at The European Fine Art Fair. \u003cbr\u003e\u003cbr\u003e Provenance:\u003cbr\u003e Acquired by Private Collection, United Kingdom, circa 1880\u003cbr\u003e Thence by direct descent\u003cbr\u003e M.S. Rau, New Orleans","brand":"M.S. Rau","offers":[{"title":"Default Title","offer_id":44050995740807,"sku":"31-5668","price":1985000.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0083\/2471\/0466\/files\/31-5668_1_9410883e-2581-46eb-8c0e-0404f02ae6b9.png?v=1791415240"},{"product_id":"illuminated-manuscript-painting","title":"Illuminated Manuscript Painting","description":"Extraordinary in its beauty and rarity, this early 16th-century painting of an illuminated manuscript showcases a masterful \u003cem\u003etrompe l’oeil\u003c\/em\u003e effect. Among the finest of only 17 known works of its kind, the oil on panel is both rare and captivating. With illusory pages that appear to leap from the panel, this virtuosic painting of a hand-colored book suspended into space is exceptional. \u003cbr\u003e\u003cbr\u003e Created more than four centuries ago, the composition evokes a strong sense of realism. Executed by a masterful Northern Renaissance artist perhaps of the German school, the illuminated manuscript pictured shows the astonishing splendor of the historical books of the period. Sumptuously decorated with scrolling floral motifs in the margins, the manuscript appears before a deep black background, heightening the \u003cem\u003etrompe l’oeil\u003c\/em\u003e illusion of depth through its strong contrast and the naturalistic shadows falling across the fluttering pages. It has been said that of the 17 known versions of this composition, ours stands alone in its precision in both perspective and the play of light and shadow. \u003cbr\u003e\u003cbr\u003e The visible folios feature choral arrangements and other texts, indicating the pictured manuscript likely served a role in the celebration of church services. In fact, other examples of manuscript paintings from the period were used to serve as placeholders for the missals, lectionaries and breviaries when they were stored away following worship. The famed choral lectern from the Olivetan monastery of Santa Maria in Organo, Verona offers an example of how such paintings were displayed in churches.  \u003cbr\u003e\u003cbr\u003e While there is no doubt some of these extraordinary works of art were intended for use in churches, scholars believe that oil paintings of illuminated manuscripts were also commissioned by elite and scholarly 16th-century collectors. The advent and widespread use of the printing press transformed the social fabric of Europe at the turn of the 16th century, and the production of printed books was far less laborious and time-consuming than painstakingly hand-painting and illuminating manuscripts. By the time this panel was painted in the first half of the 16th century, illuminated manuscripts — already highly valuable and exclusive for the elite — were becoming obsolete. The wealthy patron of these paintings was almost certainly someone who valued knowledge and sought to preserve the hand-wrought artistry of those captivating early manuscripts. \u003cbr\u003e\u003cbr\u003e The other few German school manuscript paintings reside in private and public collections around the globe, including the impressive collections of Eltz Castle in Germany and Ambras Castle in Austria.  \u003cbr\u003e\u003cbr\u003e Painted in the early 16th century \u003cbr\u003e\u003cbr\u003e Panel: 18\" high x 20 1\/4\" wide\u003cbr\u003e Frame: 25\" high x 27 5\/8\" wide x 2 1\/4\" deep \u003cbr\u003e\u003cbr\u003e Exhibitions:\u003cbr\u003e Flassans-sur-Issole, France, Exposition Peyrassol, April 1-November 1, 2022 \u003cbr\u003e\u003cbr\u003e Provenance:\u003cbr\u003e Private collection, Germany\u003cbr\u003e Private collection, Geneva\u003cbr\u003e M.S. Rau, New Orleans","brand":"M.S. Rau","offers":[{"title":"Default Title","offer_id":43786998481031,"sku":"31-6844","price":648500.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0083\/2471\/0466\/files\/31-6844_1_bd2bd7d3-12a8-494b-a025-e10297795bfb.png?v=1781637676"},{"product_id":"elizabethan-tigerware-jug-with-silver-gilt-mountings-circa-1560","title":"Elizabethan Tigerware Jug with Silver Gilt Mountings, Circa 1560","description":"Tigerware Jug\u003cbr\u003e Hallmarked London, 1561 \u003cbr\u003e\u003cbr\u003e This exceptionally rare circa 1560 stoneware jug showcases the distinctive craftsmanship of Elizabethan silver and brown salt-glazed pottery, known as \"tigerware\" by the Elizabethans. This type of pottery earned its name due to a misconception, popularized by the literary figure William Caxton, that tigers had spotted fur. The finest of these jugs, like this very example, were decorated with ornate silver gilt mountings, elevating the time-honored tradition of drinking beer and ale. They are considered the forerunners of the Elizabethan tankard and were commonly seen on the tables of wealthy families. \u003cbr\u003e\u003cbr\u003e This jug, notable for its petite and pleasing proportions, was likely intended for the lady of the house. The footing is adorned with a small dental motif, and an engraved moresque pattern of leafy vines encircles the neck. The vox atop the handle conceals a hinge, allowing the cover to be raised and lowered. As is typical of early tigerware jugs, the cover is more ornately decorated than the lip mount, featuring masks surrounded by lush fruits and vegetables. Layered under the baluster finial are acanthus leaves, a design element first used in Greek monumental architecture and adopted into various styles since. A whimsical detail can be found on the thumbpiece, which features a mermaid wearing a Dutch-style hat. \u003cbr\u003e\u003cbr\u003e Very few of these period pieces have survived the ravages of time. During the English Civil War (1642-1651), most of the exquisite silver items that once adorned the tables of the wealthy and graced royal courts were destroyed. Today, surviving examples of pre-Oliver Cromwell (d. 1658) English silverwork are among the rarest and most sought-after items, each one a museum-quality discovery. A similar jug is housed in the Victoria and Albert Museum in London. The collar and cover are both marked, with the set of marks inside the cover being particularly crisp, showing little wear. The maker, who used the bird’s claw mark, was active throughout the 1560s.  \u003cbr\u003e\u003cbr\u003e 7 1\/4“ high x 4 1\/2” wide x 4“ deep  \u003cbr\u003e\u003cbr\u003e Provenance:\u003cbr\u003e Mrs. C.I. Masterson, Pettings Court, Wrotham, Kent\u003cbr\u003e Christie’s London, 7 November 1945, lot 95\u003cbr\u003e Private Collection\u003cbr\u003e M.S. Rau, New Orleans\u003cbr\u003e Red McCombs Collection, Texas\u003cbr\u003e M.S. Rau, New Orleans","brand":"M.S. Rau","offers":[{"title":"Default Title","offer_id":42332239855751,"sku":"31-9377","price":29850.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0083\/2471\/0466\/files\/31-9377_1.png?v=1741267637"},{"product_id":"elizabethan-silver-communion-cup","title":"Elizabethan Silver Communion Cup","description":"Communion Cup\u003cbr\u003e Hallmarked London, 1570 \u003cbr\u003e\u003cbr\u003e This exceptionally rare communion cup from 1570 exemplifies the design of early Reformation “decent” communion cups, rare treasures in today's market. Notably pleasing in its proportions and clean lines, this cup features a knopped stem and a stepped foot adorned with a minutely detailed geometric pattern. Encircling the bowl is an engraved band of moresque foliage within strapwork, characteristic of 16th-century silver. \u003cbr\u003e\u003cbr\u003e The soft texture and distinctive color of aged silver are particularly evident in this chalice. Before 1750, silver processing involved two workers pounding an ingot into a thin disk, which was then raised and molded with various hammers and chasing tools, and polished by hand. This labor-intensive process imparted a unique beauty to wrought silver that cannot be replicated using post-1750 rolled sheets of even silver. \u003cbr\u003e\u003cbr\u003e During the English Reformation, established under Henry VIII and firmly reestablished after Elizabeth I's accession in 1558, Archbishop Parker urged every parish church to adopt the new “demythologized” communion cups. These cups, known as “decent communion cups,” became some of the most well-known English silver objects of the 16th century. Medieval chalices used in Roman Catholic masses were often reworked into these new forms, typically resulting in taller cups that accommodated the Reformers' view of communion by offering wine to all the laity. \u003cbr\u003e\u003cbr\u003e Elizabethan silver such as this is particularly rare because much of it was melted down during subsequent periods, including the English Civil War and later economic hardships, leaving few original works intact. Two similar examples from this period are in the Francine Fowler, Jr. collection at UCLA, and another, marked by a bellows, resides in the Schroder collection. This particular cup, with its historical significance and exceptional craftsmanship, is a testament to the rich heritage of English Reformation silver. \u003cbr\u003e\u003cbr\u003e 6 1\/8\" high x 3\" wide x 3\" deep \u003cbr\u003e\u003cbr\u003e Exhibited:\u003cbr\u003e San Antonio Museum of Art, 1997, “The Age of Excellence: English, Irish, and American Silver.” \u003cbr\u003e\u003cbr\u003e Provenance:\u003cbr\u003e Sale, Sotheby’s New York, 17 December 1980, lot 380, with a paten marked RC\u003cbr\u003e M.S. Rau, New Orleans\u003cbr\u003e Red McCombs Collection, Texas\u003cbr\u003e M.S. Rau, New Orleans","brand":"M.S. Rau","offers":[{"title":"Default Title","offer_id":43875193684103,"sku":"31-9195","price":26500.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0083\/2471\/0466\/files\/31-9195_1_51c19160-3698-4174-9a7e-615d190603e3.png?v=1792179732"},{"product_id":"the-penance-of-st-chrysostom-by-albrecht-durer","title":"The Penance of St. Chrysostom by Albrecht Dürer","description":"Albrecht Dürer\u003cbr\u003e 1471-1528 | German \u003cbr\u003e\u003cbr\u003e \u003cem\u003eThe Penance of St. Chrysostom\u003c\/em\u003e \u003cbr\u003e\u003cbr\u003e Monogrammed in the plate lower center \"AD\"\u003cbr\u003e Copper engraving on laid paper  \u003cbr\u003e\u003cbr\u003e \u003cem\u003e“Whatever was mortal in Albrecht Dürer lies beneath this mound.” — Albrecht Dürer’s epitaph\u003c\/em\u003e \u003cbr\u003e\u003cbr\u003e This exceptionally rare copper engraving of St. Chrysostom is one of the very few nude engravings ever created by Albrecht Dürer, a master of the Northern Renaissance. With extraordinary precision and a synthesis of Northern humanism and Italian Renaissance ideals, this engraving is a striking convergence of religious tradition, artistic mastery and an infamous saint's complex narrative. \u003cbr\u003e\u003cbr\u003e \u003cem\u003eThe Penance of St. Chrysostom\u003c\/em\u003e is based on a medieval legend surrounding John Chrysostom, an early Christian theologian and hermit saint. According to the tale, an emperor’s daughter sought refuge in his cave during a storm, but in a moment of weakness, he broke his vow of chastity. Wracked with guilt, he cast the woman from a cliff before retreating into the wilderness, where he crawled like a beast in penance for years. Miraculously, the woman survived and gave birth. Later, she was found with her child, and St. Chrysostom was ultimately absolved. \u003cbr\u003e\u003cbr\u003e This is the scene Dürer captures with remarkable precision—the woman sits in an alcove, breastfeeding her child, while the saint, seen crawling in the distance, repents in exile. Set against a quintessential medieval German town, Dürer’s engraving is a masterclass in depth, perspective and anatomical perfection. His ability to render human figures in idealized proportions—influenced by Italian Renaissance principles—demonstrates his pioneering approach to the nude form. \u003cbr\u003e\u003cbr\u003e Albrecht Dürer, born in Nuremberg in 1471, is regarded as the most influential artist of the Northern Renaissance. Early in his career, Dürer apprenticed with his father, a goldsmith, and later with Michael Wolgemut, whose workshop introduced him to woodcut illustration. Fascinated by the Italian Renaissance, Dürer made two formative visits to Italy, where he absorbed the classical techniques of masters like Pollaiuolo, Mantegna and Michelangelo. The stay marked a turning point in his career, and this engraving reveals Dürer's deepened understanding of classical form, as well as his mastery of naturalistic effects in light and shade. His ability to merge these Italian influences with the Northern tradition of intricate detail established Dürer as a leading figure in Renaissance art. \u003cbr\u003e\u003cbr\u003e Throughout his career, Dürer created works that transcended the boundaries of woodcuts, engravings and paintings, demonstrating unmatched intellectual and artistic depth. Dürer was the most influential German artist of his time, serving as court artist to both Holy Roman Emperor Maximilian I and his successor Charles V. The few known examples of this particular work are held in the permanent collections of the Metropolitan Museum of Art, the National Gallery of Art in Washington, D.C. and the Clark in Williamstown, MA.  \u003cbr\u003e\u003cbr\u003e Paper: 6 7\/8\" high x 4 1\/2\" wide (17.46 x 11.43 cm)\u003cbr\u003e Frame: 17 1\/2\" high x 13 1\/2\" wide x 1 1\/2\" deep (44.45 x 34.29 x 3.18 cm) \u003cbr\u003e\u003cbr\u003e Circa 1497 \u003cbr\u003e\u003cbr\u003e Literature:\u003cbr\u003e Bartsch, Adam von. \u003cem\u003eLe Peintre-Graveur\u003c\/em\u003e. Vol. 7. Vienna: J.V. Degen, 1808, no. 63\u003cbr\u003e Holzschnitte, und Zeichnungen. \u003cem\u003eVienna: Gilhofer \u0026amp; Ranschburg\u003c\/em\u003e, 1932, no. 54 d\/e (from f)","brand":"M.S. Rau","offers":[{"title":"Default Title","offer_id":43875571204231,"sku":"32-0468","price":42500.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0083\/2471\/0466\/files\/32-0468_1_b27ccb78-d683-4af9-9a02-9df08583f2c7.png?v=1792173512"}],"url":"https:\/\/rauantiques.com\/collections\/10-26-16th-century-treasures.oembed","provider":"M.S. Rau","version":"1.0","type":"link"}