Baroque Decorative Objects

Pair of bronze and marble Marly Horse and Tamer sculpture statues after Coustou, circa late 20th century. Measurements: 14" H x 12" W x 7" D.   

Two bronze candlesticks. Twentieth century. Two practically equal bronze candlesticks with a triangular base on legs (these with vegetal elements finished in claws holding balls) ...

Pair of silver candle holders on a sweeping, oval-cloud-shaped base, framed and profiled segments pulled up in the middle and converging to form a grooved ring...

Antique cast bronze Baroque style sculpture of a nude female figure astride goatman. 14.5" tall x 10" x 8" . Unsigned. Verdigris patina. Very nice condition. Dimensions: 8" depth x 1...

18th century Dutch snuffbox. The petite box is brass with ornate scrolled design throughout. The box will look simply beautiful and elegant on display or on a dressing room vanity.

A very fine and Monumental French 19th century patinated bronze group Titled "The Abduction of the Sabine Women" after a model by Pierre Loison (French, 1816-1886), depicting a young scantily maiden being carried away on the arms of a Roman soldier, raised on circular ebonized wood and brass revolving pedestal stand. Signed at the base: P. Loison, circa: Paris, 1870-1880. Overall height (Sculpture and Pedestal): 91 inches (231.2 cm). Sculpture height: 54 3/4 inches (139.1 cm). Sculpture width: 24 inches (61 cm). Pedestal height: 36 inches (91.5 cm). Pedestal width (Widest): 25 1/2 inches (64.8 cm). Pierre Loison was a French sculptor of the 19th century born in the seaside town of Loir-et-Cher on July 5, 1816 and died in Cannes on February 3, 1886. In 1841, he joined the Pierre-Jean David d'Angers workshop where he became one of his favorite pupils. A year later he attended the School of Fine Arts in Paris. He exhibited for the first time at the Salon des artistes Français where in 1845 he was awarded third-class medal. In 1853 he was awarded First Place medal and at the Universal Exhibition of 1955 he received an honorable mention and another medal award in 1859. On 12 July 1859 and by decree, he was made "Chevalier de la Légion d’Honneur". Pierre Loison is buried at The Montparnasse Cemetery in Paris. Works by Pierre Loison "Femme assise": Terre cuite (1843) au musée Gustave-Moreau à Paris "Jeune fille portant un vase": Statue en marbre blanc, (h. 1,25 m) datée de 1857 et présentée au Salon de 1859 ; la statue fut d’abord placée au Palais-Royal (appartements du prince Napoléon) ; elle est actuellement au musée des Beaux-arts de Dole ; une réplique de taille réduite est au Musée des arts décoratifs de Paris. "La Halle aux grains de Mer": Chaque façade de ce bâtiment, classé à l’inventaire supplémentaire des monuments historiques, comporte un fronton triangulaire et celui de la façade ouest représentant « L’Agriculture distribuant des couronnes aux enfants de Beauce et de Sologne » a été sculpté gracieusement par P. Loison, natif de la commune. "La Justice assise": Allégorie de la Justice au fronton du Palais de justice de Blois (1847). "Buste d’Achille Fould": Au musée du Château de Blois 8; "Nausicaa": Statue en plâtre présentée au Salon de 1874, au musée des Beaux-arts de Vendôme. "Statue de J-B. Pigalle sur la façade de l’hôtel de ville de Paris "Sculptures extérieures du Palais du Louvre": Pierre Loison est l’auteur de neuf statues qui décorent les façades du Louvre "Figure" (1878) au deuxième étage du Pavillon Marsan10; "La Navigation" (1868) sur la balustrade du premier étage du Pavillon des États11; "Pandore" (1861) sur l’aile Est12; « Vénus » (1865) Aile Marsan13; "l’Histoire et la Vérité" (1857)14; "La Poésie et la Philosophie" (1857)15 deux oculi du Pavillon Mollien, coté cour Napoléon ; "Concordet" (1857) sur la balustarde du premier étage de la Rotonde de Beauvais, coté cour Napoléon. "Statue de Sappho sur le rocher de Leucade : datée de 1859, (h. 1,85 m) sur la façade nord de la cour carrée du Palais du Louvre à Paris ; le modèle en plâtre, offert par Mme Loison, est au musée des Beaux-arts de Blois. "Vierge à l’enfant": Statue en marbre en l’église Saint-Pierre de Dampierre-en-Yvelines. "Jeune romain enlevant une Sabine": Groupe présenté au Salon de 1863 qui a été reproduit en bronze par la fonderie d’art Raingo frères. "Sépulture de la famille Hautoy : Au cimetière du Père-Lachaise, deux bas-reliefs en marbre représentant l’un "La vie de Famille," l’autre 'Le chantier," datés de 1880. "Demoiselle d’honneur de la Cour de François Ier": Statue en pierre exposée au Salon des artistes vivants en 1870 ; acquise par l’État à ce Salon, elle a été déposée en 1891, devant la mairie d’Aubin. "La Paix distribuant des palmes aux génies des Beaux-arts": Fronton du Château de Compiègne (1866). "Daphnis et Naïs": Groupe en marbre (1869) au musée de Picardie à Amiens. "Jean-Baptiste Pigalle": Statue en pierre (1881) sur la façade principale, au rez-de-chaussée de l’Hôtel de ville de Paris. "Gisant de Ferdinand-Philippe d'Orléans: dans la chapelle royale de Dreux en collaboration avec Ary Scheffer. "La Grace": Statue en marbre (1875) dans le grand foyer de l’opéra Garnier. The Abduction of the Sabine Women The Abduction of the Sabine Women is an episode in the legendary history of Rome, traditionally dated to 750 BC, in which the first generation of Roman men acquired wives for themselves from the neighboring Sabine families. Recounted by Livy and Plutarch (Parallel Lives II, 15 and 19), it provided a subject for Renaissance and post-Renaissance works of art that combined a suitably inspiring example of the hardihood and courage of ancient Romans with the opportunity to depict multiple figures, including heroically semi-nude figures, in intensely passionate struggle. Comparable themes from Classical Antiquity are the Battle of the Lapiths and Centaurs and the theme of Amazonomachy, the battle of Theseus with the Amazons. The Abduction is supposed to have occurred in the early history of Rome, shortly after its founding by Romulus and his mostly male followers. Seeking wives in order to found families, the Romans negotiated unsuccessfully with the Sabines, who populated the area. Fearing the emergence of a rival society, the Sabines refused to allow their women to marry the Romans. Consequently, the Romans planned to abduct Sabine women, during a festival of Neptune Equester and proclaimed the festival among Rome's neighbours. According to Livy, many people from Rome's neighbours including folk from the Caeninenses, Crustumini, and Antemnates, and many of the Sabines attended. At the festival Romulus gave a Signal, at which the Romans grabbed the Sabine women and fought off the Sabine men. The indignant abductees were soon implored by Romulus to accept Roman husbands. Livy says Romulus offered them free choice and promised civic and property rights to women. According to Livy, Romulus spoke to them each in person, declaring "that what was done was owing to the pride of their fathers, who had refused to grant the privilege of marriage to their neighbours; but notwithstanding, they should be joined in lawful wedlock, participate in all their possessions and civil privileges, and, than which nothing can be dearer to the human heart, in their common children." Responsibility of the men for meeting the needs of the children thus conceived was not included. War with the Sabines and other tribes Outraged at the occurrence, the King of the Caeninenses entered upon Roman territory with his army. Romulus and the Romans met the Caeninenses in battle, killed their king, and routed their army. Romulus later attacked Caenina and took it upon the first assault. Returning to Rome, he dedicated a temple to Jupiter Feretrius (according to Livy, the first temple dedicated in Rome) and offered the spoils of the enemy king as spolia opima. According to the Fasti Triumphales, Romulus celebrated a triumph over the Caeninenses on 1 March 752 BC. At the same time, the army of the Antemnates invaded Roman territory. The Romans retaliated, and the Antemnates were defeated in battle and their town captured. According to the Fasti Triumphales, Romulus celebrated a second triumph in 752 BC over the Antemnates. The Crustumini also started a war, but they too were defeated and their town captured. Roman colonists subsequently were sent to Antemnae and Crustumerium by Romulus, and many citizens of those towns also migrated to Rome (particularly the families of the captured women). The Sabines themselves finally declared war, led into battle by their king, Titus Tatius. Tatius almost succeeded in capturing Rome, thanks to the treason of Tarpeia, daughter of Spurius Tarpeius, governor of the citadel on the Capitoline Hill. She opened the city gates for the Sabines in return for "what they bore on their arms", thinking she would receive their golden bracelets. Instead, the Sabines crushed her to death with their shields, and her body was thrown from a rock known ever since by her name, the Tarpeian Rock. The Romans attacked the Sabines, who now held the citadel. The Roman advance was led by Hostus Hostilius, the Sabine defence by Mettus Curtius. Hostus fell in battle, and the Roman line gave way, They retreated to the gate of the Palatium. Romulus rallied his men by promising to build a temple to Jupiter Stator on the site. He then led them back into battle. Mettus Curtius was unhorsed and fled on foot, and the Romans appeared to be winning. At this point, however, the Sabine women intervened: [They], from the outrage on whom the war originated, with hair dishevelled and garments rent, the timidity of their sex being overcome by such dreadful scenes, had the courage to throw themselves amid the flying weapons, and making a rush across, to part the incensed armies, and assuage their fury; imploring their fathers on the one side, their husbands on the other, "that as fathers-in-law and sons-in-law they would not contaminate each other with impious blood, nor stain their offspring with parricide, the one their grandchildren, the other their children. If you are dissatisfied with the affinity between you, if with our marriages, turn your resentment against us; we are the cause of war, we of wounds and of bloodshed to our husbands and parents. It were better that we perish than live widowed or fatherless without one or other of you." The battle came to an end, and the Sabines agreed to unite in one nation with the Romans. Titus Tatius jointly ruled with Romulus until Tatius's death five years later. The new Sabine residents of Rome settled on the Capitoline Hill, which they had captured in the battle. Artistic representations: The Rape of the Sabine Women by Johann Heinrich Schönfeld The subject was popular during the Renaissance as symbolising the importance of marriage for the continuity of families and cultures. It was also an example of a battle subject in which the artist could demonstrate his skill in depicting female as well as male figures in extreme poses, with the added advantage of a sexual theme. It was depicted regularly on 15th-century Italian cassoni and later in larger paintings. A comparable opportunity from the New Testament was afforded by the theme of the Massacre of the Innocents. Giambologna The sculpture by Giambologna (1579–1583) that was reinterpreted as expressing this theme depicts three figures (a man lifting a woman into the air while a second man crouches) and was carved from a single block of marble. This sculpture is considered Giambologna's masterpiece. Originally intended as nothing more than a demonstration of the artist's ability to create a complex sculptural group, its subject matter, the legendary rape of the Sabines, had to be invented after Francesco I de' Medici, Grand Duke of Tuscany, decreed that it be put on public display in the Loggia dei Lanzi in Piazza della Signoria, Florence. True to mannerist densely packed, intertwined figural compositions and ambitious overinclusive efforts, the statue renders a dynamic panoply of emotions, in poses that offer multiple viewpoints. When contrasted with the serene single-viewpoint pose of the nearby Michelangelo's David, finished nearly 80 years before, this statue is infused with the dynamics that lead towards Baroque, but the tight, uncomfortable, verticality— self-imposed by the author's virtuosic restriction to a composition that could be carved from a single block of marble— lacks the diagonal thrusts that Bernini would achieve forty years later with his Rape of Proserpina and Apollo and Daphne, both at the Galleria Borghese, Rome. The proposed site for the sculpture, opposite Benvenuto Cellini's statue of Perseus, prompted suggestions that the group should illustrate a theme related to the former work, such as the rape of Andromeda by Phineus. The respective rapes of Proserpina and Helen were also mooted as possible themes. It was eventually decided that the sculpture was to be identified as one of the Sabine virgins. The work is signed OPVS IOANNIS BOLONII FLANDRI MDLXXXII ("The work of Johannes of Boulogne of Flanders, 1582"). An early preparatory bronze featuring only two figures is in the Museo Nazionale di Capodimonte in Naples. Giambologna then revised the scheme, this time with a third figure, in two wax models now in the Victoria and Albert Museum, London. The artist's full-scale gesso for the finished sculpture, executed in 1582, is on display at the Accademia Gallery in Florence. Bronze reductions of the sculpture, produced in Giambologna's own studio and imitated by others, were a staple of connoisseurs' collections into the 19th century. Nicolas Poussin Nicolas Poussin produced two major versions of this subject, which enabled him to display to the full his unsurpassed antiquarian knowledge, together with his mastery of complicated relations of figures in dramatic encounter. One, now at the Metropolitan Museum of Art, was executed in Rome, 1634–35. It depicts Romulus at the left giving the Signal for the abduction. The second version, of 1636–37, now at the Louvre Museum, shows that, though some of the principal figures are similar, he had not exhausted the subject. The architectural setting is more developed. Peter Paul Rubens Peter Paul Rubens painted a version of the subject about 1635–40. It is at the National Gallery, London. Jacques-Louis David Jacques-Louis David painted the other end of the story, when the women intervene to reconcile the warring parties. The Sabine Women Enforcing Peace by Running Between the Combatants (also known as The Intervention of the Sabine Women ) was completed in 1799. It is in the Louvre Museum. David had worked on it from 1796, when France was at war with other European nations after a period of civil conflict culminating in the Reign of Terror and the Thermidorian Reaction, during which David himself had been imprisoned as a supporter of Robespierre. After David’s estranged wife visited him in jail, he conceived the IDEA of telling the story, to honor his wife, with the theme being love prevailing over conflict. The painting was also seen as a plea for the people to reunite after the bloodshed of the revolution. The painting depicts Romulus's wife Hersilia — the daughter of Titus Tatius, leader of the Sabines — rushing between her husband and her father and placing her babies between them. A vigorous Romulus prepares to strike a half-retreating Tatius with his spear, but hesitates. Other soldiers are already sheathing their swords. The rocky outcrop in the background is the Tarpeian Rock. John Leech The English 19th century satirical painter John Leech included in his Comic History of Rome a depiction of the Rape of the Sabine Women, where the women are portrayed, with a deliberate anachronism, in Victorian costume...

Monumental antique Dutch Baroque frame. Great for use as a mirror or art frame. Made of walnut featuring geometric form with extended corners and ornate carved gilded accents over a ...

This is a classic pair of fine late 17th century Italian cast bronze pricket sticks, This large pair features a rich natural patina, boldly cast turning...

17th century Italian fragment mounted with mica cluster with garnets on a petrified wood base. This fragment is from a church in Florence. It wa...

Pair of 19th century cups. In very good condition. The bronze has a fine chiselure. Beautiful patina. Good condition.

Rare large pair of antique table candelabrum in carved and giled wood with five arms for five candles. Great artistic quality of the 17th century in the middle of the Baroque period,...

A pair of 17th century Italian fragment vases decorated with fossil agate coral on cut rock coral bases. The pair is from a church in Florence. They were found and saved from the hi...

Extraordinary and unique, this gorgeous large sculptural copper panel depicting 16 charming dancing Putti, playing and amusing themselves, with 1 dog and 1 bird, after Clodion, early...

17th Century (Baroque) pair of Italian carved and polychromed figures. Each statue is holding a torchere and are mounted on their original turned wooden faux marble column.  

Cobalt porcelain casket Very good condition, no damage. Casket signed import Measures: height 5 cm width 11 cm depth 9.5 cm.

Pair of gilt wood candlestick lamps. Deep teal colored original paint. Candlesticks are 19th Century European, completely restored with new wi...

"Child Jesus". Carved and polychrome wood. Spanish school, 17th century. Base or pedestal made later. Christ is presented naked, with a slight contrapposto on the legs and hips that...

Large globe by Emile Bertaux 50 cm diameter. It is 90 cm high. The base is made of turned wood. Good condition.

This fabulous handmade terracotta pot originated in the Provençal town of Biot and was used to store olive oil. In perfect condition, the photo...

Early German baroque bronze mermaid door knocker on frosted lucite stand. This door knocker is a work of art; heavy bronze with original patina, ...

Wonderful carved German or Austrian snuff box hunting motive and silver mounting. Carved to fit "hand in glove." Provenance: Exhibited at the Dome M...

Pair of very large French figurative floor-standing candelabra French, 19th century Measures: Height 260cm, width 90cm, depth 90cm This pair of candelabra are each surmounted by...

Sculpture (figural candlestick). Carved and polychrome wood, wrought iron. Castilian school, 16tyh-17th centuries. Carved and polychrome wooden sculpture placed on a simple base showing a half-naked male figure, holding with his hands a cloth that covers the lower part of his body in front and holding up a wrought iron cone...

Very sweet little French bronze candlestick dating from the 17th century. Measures: 15.5 cm high 8 x 8 cm base. Free shipping.

18th century Italian carved and polychromed Reliquary of Pope Pius V, realistically carved and painted bust of Pope Pius V (?) holding a relic.  

Extraordinary, monumental 6' tall brass scale of Italian Origin, ca. 1700. The Baluster-form stem ending in a tripod base and having a cast brass finial featuring St, George slaying...

Gorgeous small statuette depicting a silver cherub from the Baroque period, late 1700s. The statue is made entirely of gilded silver and depicts a musician cherub holding two plates...

Antique architectural, painted nutwood 'molding' for wall or ceiling mounting, 9 feet in length. If you are looking to integrate amazing architectural antiques into an old or new bu...

Stunning and complete unique early Baroque altarpiece with beautiful and very rich carved and gilded decor, Spain, circa 1650 Weathered, small losses, old repairs and adjustments o...

Stunning Italian sculpture in white Carrara Marble, bust of child,was part of an very important altarpiece in a private collection from a palace in Turin...

A very large and fine pair of 18th century carved figures, of Court Jesters. These gentlemen have been superbly carved in the finest detail, th...

Small globe from the XIX century. Measures 18 cm high and 7 cm diameter. The sphere is made of wood Good condition.

This original 18th century silver gilded over brass frame is elaborately embossed and chiseled. The central oval is surrounded by rocaille and volute motifs typical of the Baroque pe...

Hand carved Italian Santo: figure of Franciscan abbot or saint, circa 1780-1800. Note: Regional differences in humidity and climate during shipping may...

LARGE BRONZE CLOCK SIGNED CLODION 90X60X36 CM IN PAVONE AND GOLDEN BRONZE.TOP QUALITY.OVER 40 KG.GOOD CONDITION.THE MECHANISM WORKS. very good cond...

A magnificent and quite large, Baroque style, Museum quality, antique Meissen Porcelain grouping of Apollo, the Sun God's, Sun Chariot with his Putti Servant, originally designed by Johann Joachim Kändler in 1772-1773 for Czarina Katharina, Better known as Catherine the great...

Christ crucified in silver 16th Century Italian school Measure: height: 40cm. very good condition.

Bronze statuette of St. Jerome, or St Hieronymous, in the manner of the Venetian sculptor Alessandro Vittorio (1525-1608) by the lost wax technique of bronze casting, which leaves a ...

Late Baroque or early Rococo pair of sinuous form bronze Candlesticks. Italian born, they were probably alter pieces and have a subtle decoration on the shiney bronze candleholder to...

This large, charming, antique clay cherub composition was sculpted in France, circa 1880. The sculpture depicts two angelic children playing with a goat; the cherubs are nicely carve...

17th Century Spanish carved oak wood sculpture of Saint Francis Xavier, the co-founder of the society of Jesus.

Alberto Carlieri (Italy-Roma 1672-1720), "Christ and the adulteress", Oil on canvas, with frame cm H 115 x L 151 x 6.5, only canvas H 98.5 x L 135 cm...

Beautiful Venetian lady and gentleman in ruby-red and black, with gold finishes. This amazing Venetian set is composed of a lady and a gentleman in ruby-...

Lovely antique circular decorative porcelain platers, a round relief centered by hand repoussé children figures playing, with flowers and superlative bas ...

An impressive, large Italian Baroque tabernacle hand carved frame from the late 18th century, which reflects the Renaissance influence of Classical Greek and Italian temples with its columns on both sides and the embellishment of the piece through the carved putti on the top, a typical element of the Baroque style. The religious plaster relief has been added at a later moment. Tabernacle frames...

Rare grey pitcher ‘cantaro’ from Calanda, Aragon-Zaragoza area of Spain. A rare piece from a Private collection, circa 1750. Other examples can be seen in...

Atlantis in wood XIX century. Wood carving representing an atlantis from the XIX century. Measures: 70 cm high Very good condition.

The ovoid jar stands on a slightly spreading foot, has a short upright neck, and is painted in blue with a floral decor. Three large cartouches containing flower bouquets have been a...

Rare Dutch baroque box composed of padauk wood with original red lacquer finish, decorated with ivory lacquer with gold outline. Richly adorned with heavy brass (or bronze) decorativ...

A modern Italian Capodimonte porcelain jug from the midcentury, 1930s, with handle decorated in baroque forms. The pitcher features a col...

A single gilt metal wall mount candelabra sconce with two arms and glass pendant drops. Designed to hold two candlesticks. Not electrified. Dimensions: 11 inches W x 6.5 inches D x...

Typical form with candle pricket over a baluster form support and ending on a triangular base with paw feet.

A fine, diminutive, and early Dutch Delft pottery vase or jar marked for Gerrit Kam. With a stylized Chinese peony flower pattern. Bearing an underglaze blue GK monogram to the bas...

A pair of late 17th Century Italian Baroque carved wood, gold gilded and polychromed Archangel sculptures mounted on Lucite bases.

Large sculptural fiberglass and resin fantasy wall mirror made by Finesse Originals featuring angels, centaur and dog motif. Large-scale, minor damage to angel ear.

Splendid pair of antique 18th century wooden jewelry boxes of fine French manufacture. The jewelry boxes have baroque shapes and are very curvy yet edgy, creating a perfect mix. The jewelry boxes are made of green and gold lacquered wood, which creates a very elegant effect. The central body contains two small storage drawers...

Jewelery box in solid 800 silver in Baroque style. This box was made by faithfully and perfectly copying the fashion jewelry boxes in the noble houses and villas in Italy in the 18t...

Exquisitely painted Venetian wooden valuables box. Hand painted all around with scenes reminiscent of the Baroque era of Venetian history, with gilt high...