Furniture

This is a beautifully hand-painted Chinese Export porcelain blue and white, large deep plate or dish which we date to the Qing, early 18th Century, Yongzheng period, Circa 1730. The...

A pair of Fortuny Fabric cushions with bias edging. The pattern is a 17th century Italian design with wisteria motif. Newly made using vintage Fortuny fabric, circa 1940. 50 down/50 ...

Fine Chinese brush painting of children playing in garden, ink and color on silk, 19th century, conservation framed

Early 20th Century pair of Italian silver & gold gilt candlesticks. There is some wear to the gilt finish but overall they beautiful. The carving depicts flowers, swags, and so muc...

Immense 17th Century Flemish wool verdure tapestry Flemish, 17th Century Height 323cm, width 424cm This very large and exquisite tapestry was crafted in wool in Flanders during the ...

A Chinese Qing Dynasty period side cabinet from the 19th century with double doors, distressed black lacquer and brass hardware. Created in China during the Qing Dynasty in the 19th ...

Unique hand-carved jade flying eagle bird with 18 karat gold jewelry This is an authentic Chinese "Flying Eagle Bird” jade pendant expertly fashioned...

'"QUI ME TANGIT VOCEM MEAM AUDI"- He who touches me hears my voice. (In tranlsation from Latin). So it says on the Bell. An absolutely unique Venetian Servant Bell with a Velvet go...

A 1900s Chinese Antique Wine Console Table made with elmwood. Emanating an aura of rich history blended with an impeccable sense of design, this Chinese console or wine table tells u...

Mid 16th Century Antique Flemish Baroque Tapestry Pillow

Pill Box Baroque shaped with pastoral miniature Sterling Silver Salimbeni .Baroque shaped pill-box with hand engravings and green fire enamel, with hand painted enameled miniature of...

Original oilpainting on woodplate by the famous artist Christian Wilhelm Dietrich (Dietricy). Born in Weimar 1712, died in Dresden 1784. In ...

A fine antique Chinese red cinnabar lacquer lidded round box carved with a scene with a young boy and a seated elderly bearded sage within a rocky landscape with trees. The "dragon's...

A Chinese late Qing Dynasty period small side table or stool from circa 1900 with reddish brown lacquer, waisted apron, carved frieze and horse hoof feet. A charming showcase of late...

Antique Chinese Tea Caddy. Late 19th century early 20th century Elm Wood carved gilt red lacquered tea caddy. In very good condition a beauti...

Made Of richly patinated Walnut with a lustrous deep color. Intricate Parquetry decorated sides and two doors. Original strap hinges conceal eight cross banded drawers and three furt...

Dated to the late 19th century, this silver charm ring was believed to protect the wearer from bad luck and malevolent spirits. The ring is decorated in relief with a large bat surro...

A handsome Italian 18th century Baroque st. Walnut cabinet/bookcase. The two door two drawer cabinet is raised by an elegant mottled stepped base below superb column like designs lea...

Step back in time and behold the captivating allure of this German vitrine, made circa 1820. This extraordinary piece, massive yet elegantly poised, stands as a behemoth of exquisite craftsmanship, exuding a timeless charm that effortlessly enchants the eyes and beckons admiration. The vitrine's journey through the ages has bestowed upon it a unique character and allure. The dark paint that once embraced its surface has gracefully ebbed away over the years, unveiling the warm hardwood that lies beneath. This transformation has given rise to a delightful patina, an artistic play of textures that adds an enchanting depth to its appearance. Step closer, and you'll be captivated by a stunning revelation. Inside the vitrine, and a pastel blue interior awaits, a fresh and unexpected contrast to its outwardly weathered allure. This harmonious blend of rustic and refined aesthetics creates a mesmerizing effect, making each moment spent with this vitrine a journey of discovery and delight. Featuring eight display shelves and four lower storage drawers, this vitrine generously offers both a treasure trove of storage possibilities and a glimpse into the history it carries within. The intricate woodwork, skillfully crafted during a time when artistry met tradition, holds stories and secrets from an era long gone by. This piece of history stands as a testament to the artistry and innovation of its era, a symbol of grandeur and sophistication. Its imposing presence and striking design make it a true marvel, demanding attention and reverence in any space it graces. The 1820s German Wooden...

Centerpiece in solid 800 silver in Baroque style. The dish is shaped on which a border made with the fusion technique with shell motifs and spirals typical of the Baroque style has b...

Baroque Style Mirror. Packaging with bubble wrap and cardboard boxes is included. If the wooden packaging is needed (fumigated crates or boxes) for US and International Shipping, it'...

Liturgical chalice in sterling silver. Volutes have been embossed on the base of the chalice, typical of the Baroque style, interspersed with hammered parts. A golden cup...

A Chinese Qing Dynasty period brown lacquer altar console table from the 19th century with original distressed patina and horse hoof legs. Created in China during the Qing Dynasty period in the 19th century, this altar console table features a narrow rectangular top with central board, sitting above a simple apron. Presenting its nicely weathered, original brown lacquer, this altar console table is raised on four slender legs with horse hoofed extremities. We review all of our pieces and address issues we may find before they leave for your home; however, this is an antique piece, and as such it will keep its character and some imperfections, which is the quintessence of antique and vintage furniture...

An exceptional 16th Century Spanish walnut and boxwood table cabinet from Catalonia, also known as an arquilla. The fall is richly inlaid with bone, creating a decorative scene of tw...

Chinese households honor their ancestors in private family rituals, invoking their spirits for long life, health, and prosperity. Commemorative portraits, which came into vogue in th...

A matching sideboard is available. Brutalist solid elm credenza. The buffet features stunning oak structure on door panels. It offers ample storage, with shelve behind the doors. A ...

Early 18th Century Italian Baroque Figured Walnut Secretary with Architectural Pediment, Arched Mirror Cabinet Door

Large Chinese Qing Dynasty enamel bronze cloisonne charger. Unusual and rare bronze Chinese Qing Dynasty Cloisonne charger. The brightly multicolored...

Antique Brusslls Baroque tapestry pillow depicting a lion foot and a tassel in gold and stone tones 17'' x 16'' Made in the late 16th century. less

A Chinese Qing Dynasty period red lacquered blanket chest from the 19th century with metal edging and lateral handles. This 19th century red lacquered blanket chest is an exemplar of the Qing Dynasty period, characterized by its vibrant hue, metal edging, and distinctive lateral handles. Crafted meticulously, this antique Chinese chest...

Bespoke Italian office swivel chair for presidential offices. Modenese Gastone Interiors designed and produced this item for a VIP client office in Mont...

Delicately carved of dense hardwood, these 19th-century scroll cases were an essential accessory for the esteemed Qing-dynasty scholar. The perfect size for a rolled-up scroll, the cases were once used to store and protect works of traditional calligraphy and landscape painting. The matching cases are hand-carved in low relief with all-over scrollwork and borders of geometric meanders. Each case is carved with repeated Shou characters, symbols of longevity and a blessing for a long and complete life. Amid the scrollwork flourishes are ribbon-clad objects known as the Eight Auspicious Symbols of Buddhism, including the eternal knot...

19th century gilt wood carved architectural remnant shaped like a swirling acanthus leaf. The acanthus leaf is mounted to an iron base for decor. This would be great on an end tabl...

Wonderfully stylish full size brass and cast iron bed with cast metal decoration and a touch of gold finishing on the decorations. Foot board...

Wonderful highly polished pewter charger. Measures: (22 inches). Amazing distressed patina Provenance: Bowood House, Near Bath, Wiltshire, England English, Mid-18th Century....

Baroque table in oak and with Öland limestone top. The oval limestone top contains pre-historic fossils in its surface. Scalloped skirt with one drawer...

A small Chinese Qing Dynasty period red lacquer side cabinet from the 19th century, with double doors, two drawers and brass hardware. Created in China during the Qing Dynasty in the...

A fine antique 18th century Dutch Delft plate. Depicting a garden in the foreground & a main in a landscape scene in the background. Surrounded by stylized floral sprigs and a dots & cross hatch decorated rim. Simply a wonderful antique Chinoiserie decorated Delft plate! Date: 18th century Overall Condition: It is in overall fair, as-pictured, used estate condition. Condition Details: There are two small chips to the plate's rim, wear and fritting to the entirety of the plate's rim and footrim, and some very light rubbing to the glaze in the bowl. Otherwise, there are some fine & light surface scratches and other signs of expected light wear consistent with age. Marks: There is an antique label...

A Chinese Qing Dynasty period rustic console table from the 19th century with carved legs and double side stretchers. Welcome to the realm of rustic charm ...

A stunning grand Italian midcentury Venetian Baroque patchwork burlwood sideboard. Exquisitely handcrafted of warm richly figured burled walnut, born in the Veneto region of North...

A pair of parrots in China symbolizes affection, fidelity, and deep, enduring love. The parrot is also a powerful symbol of opportunity and the bearer of good news, drawing in positi...

- Rare small size, perfect height for sofa's and modern armchairs - The thick single plank walnut top and bold turnings are characteristic of Spanish furniture - This table exudes ve...

Solid carved wood antique baroque mirror. Could be French. Gold gilding. Statement piece. Lights up a room. I'm not certain of the actual age. I...

Four small Chinese Qing Dynasty period green glazed ceramic rice wine jug vessels from the Hunan Province, priced and sold individually. Beckoning from the depths of Chinese history,...

Discover the beauty of an 18th-century Baroque Table from South Germany, possibly originating from the enchanting region around Würzburg in Franconia. The centerpiece of this exqui...

Remarkable baroque chest of drawers from the period in Austria around 1770. A fantastic late 18th century chest of drawers showing an extraordinary design combining straight lines with soft curved shapes. The fine nut wood veneered surface with beautiful grain confers this amazing looking chest of drawers a real special appearance. This over 250 years old antique dresser was part of the inventory of an old chapel and impresses with its roots maple sections, whereby each field has been additionally framed by delicate inlayed ebonized fruitwood. Adorned by lovely brass fittings, the three artfully designed, cambered drawers can be locked separately with the still original so-called "snap locks" and offer a lot of storage space (the original key is included). The elaborate restoration took a lot of time but was definitely worth it. Not only an amazing looking, valuable piece of antique baroque...

A pair of Italian 18th Century Candle-holding Archangels, sculpted wood with its original wings.

RARE AND SPECTACULAR 19th Century ITALIAN DRESSING FURNITURE Italian in walnut wood with carvings, inlaid fillets, engraved and hard stones. Composit...

A small and interesting cast bronze archaistic scholar vase with loose ring handles and taotie mask design, late Ming or early Qing Dynasty, mid 17th century, China. The small vase of archaistic hu form, and cast with archaistic designs. Sitting on a tall splayed ring foot, the round body is cast with a large band featuring a ferocious taotie (ogre) mask. The taotie mask in this case id decidedly feline, with a ruyi shaped snout above a whiskered mouth. Two flanges stick out to either side of the mask, reminiscent of ears. A wide, tall neck rises from the body, terminating in a slightly everted mouth. The archaistic cast design on the neck is not as clear, but most likely represents Fusang, a mythical island in the Eastern Sea where the legendary Fusang tree grows. The Fusang tree, home to the mythical Sun Bird...

Pair of carved painted console tables. The finish is painted in soft cream muted colors. There is fine carving throughout depicting flowers and acanthus leaves. We had the painted to...

This impressive pair of five-light candelabra stems from the late nineteenth century. The ornate design, possibly French, exhibits a great deal of detailed craftsmanship. The five ar...

An impressive late 19th century Spanish Baroque style trestle dining table handcrafted of solid walnut near Barcelona, circa 1890s. Having a thick two-board top with a wonderful rich color and deep lustrous patination, this antique Spanish dining...

A fine Italian 19th century oil painting on canvas "La Madonna della Seggiola" after Raphael (Raffaello Sanzio da Urbino 1483-1520) The circular canvas depicting a seated Madonna holding an infant Jesus Christ next to a child Saint John the Baptist, all within a massive carved gilt wood and gesso frame (all high quality gilt is original) which is identical to the frame on Raphael's original artwork. This painting is a 19th Century copy of Raphael's Madonna della Seggiola painted in 1514 and currently exhibited and part of the permanent collection at the Palazzo Pitti, Galleria Palatina, Florence, Italy. The bodies of the Virgin, Christ, and the boy Baptist fill the whole picture. The tender, natural looking embrace of the Mother and Child, and the harmonious grouping of the figures in the round, have made this one of Raphael's most popular Madonnas. The isolated chair leg is reminiscent of papal furniture, which has led to the assumption that Leo X himself commissioned the painting, circa 1890-1900. Subject: Religious painting Measures: Canvas height: 29 1/4 inches (74.3 cm) Canvas width: 29 1/4 inches (74.3 cm) Painting diameter: 28 1/4 inches (71.8 cm) Frame height: 57 7/8 inches (147 cm) Frame width: 45 1/2 inches (115.6 cm) Frame depth: 5 1/8 inches (13 cm).   Raffaello Sanzio da Urbino (Italian, March 28 or April 6, 1483 - April 6, 1520), known as Raphael, was an Italian painter and architect of the High Renaissance. His work is admired for its clarity of form, ease of composition, and visual achievement of the Neoplatonic ideal of human grandeur. Together with Michelangelo and Leonardo da Vinci, he forms the traditional trinity of great masters of that period. Raphael was enormously productive, running an unusually large workshop and, despite his death at 37, leaving a large body of work. Many of his works are found in the Vatican Palace, where the frescoed Raphael Rooms were the central, and the largest, work of his career. The best known work is The School of Athens in the Vatican Stanza della Segnatura. After his early years in Rome much of his work was executed by his workshop from his drawings, with considerable loss of quality. He was extremely influential in his lifetime, though outside Rome his work was mostly known from his collaborative printmaking. After his death, the influence of his great rival Michelangelo was more widespread until the 18th and 19th centuries, when Raphael's more serene and harmonious qualities were again regarded as the highest models. His career falls naturally into three phases and three styles, first described by Giorgio Vasari: his early years in Umbria, then a period of about four years (1504–1508) absorbing the artistic traditions of Florence, followed by his last hectic and triumphant twelve years in Rome, working for two Popes and their close associates. Raphael was born in the small but artistically significant central Italian city of Urbino in the Marche region, where his father Giovanni Santi was court painter to the Duke. The reputation of the court had been established by Federico III da Montefeltro, a highly successful condottiere who had been created Duke of Urbino by the Pope - Urbino formed part of the Papal States - and who died the year before Raphael was born. The emphasis of Federico's court was rather more literary than artistic, but Giovanni Santi was a poet of sorts as well as a painter, and had written a rhymed chronicle of the life of Federico, and both wrote the texts and produced the decor for masque-like court entertainments. His poem to Federico shows him as keen to show awareness of the most advanced North Italian painters, and Early Netherlandish artists as well. In the very small court of Urbino he was probably more integrated into the central circle of the ruling family than most court painters. Federico was succeeded by his son Guidobaldo da Montefeltro, who married Elisabetta Gonzaga, daughter of the ruler of Mantua, the most brilliant of the smaller Italian courts for both music and the visual arts. Under them, the court continued as a centre for literary culture. Growing up in the circle of this small court gave Raphael the excellent manners and social skills stressed by Vasari. Court life in Urbino at just after this period was to become set as the model of the virtues of the Italian humanist court through Baldassare Castiglione's depiction of it in his classic work The Book of the Courtier, published in 1528. Castiglione moved to Urbino in 1504, when Raphael was no longer based there but frequently visited, and they became good friends. He became close to other regular visitors to the court: Pietro Bibbiena and Pietro Bembo, both later cardinals, were already becoming well known as writers, and would be in Rome during Raphael's period there. Raphael mixed easily in the highest circles throughout his life, one of the factors that tended to give a misleading impression of effortlessness to his career. He did not receive a full humanistic education however; it is unclear how easily he read Latin. Early Life and Works His mother Màgia died in 1491 when Raphael was eight, followed on August 1, 1494 by his father, who had already remarried. Raphael was thus orphaned at eleven; his formal guardian became his only paternal uncle Bartolomeo, a priest, who subsequently engaged in litigation with his stepmother. He probably continued to live with his stepmother when not staying as an apprentice with a master. He had already shown talent, according to Vasari, who says that Raphael had been "a great help to his father". A self-portrait drawing from his teenage years shows his precocity. His father's workshop continued and, probably together with his stepmother, Raphael evidently played a part in managing it from a very early age. In Urbino, he came into contact with the works of Paolo Uccello, previously the court painter (d. 1475), and Luca Signorelli, who until 1498 was based in nearby Città di Castello. According to Vasari, his father placed him in the workshop of the Umbrian master Pietro Perugino as an apprentice "despite the tears of his mother". The evidence of an apprenticeship comes only from Vasari and another source, and has been disputed—eight was very early for an apprenticeship to begin. An alternative theory is that he received at least some training from Timoteo Viti, who acted as court painter in Urbino from 1495.Most modern historians agree that Raphael at least worked as an assistant to Perugino from around 1500; the influence of Perugino on Raphael's early work is very clear: "probably no other pupil of genius has ever absorbed so much of his master's teaching as Raphael did", according to Wölfflin. Vasari wrote that it was impossible to distinguish between their hands at this period, but many modern art historians claim to do better and detect his hand in specific areas of works by Perugino or his workshop. Apart from stylistic closeness, their techniques are very similar as well, for example having paint applied thickly, using an oil varnish medium, in shadows and darker garments, but very thinly on flesh areas. An excess of resin in the varnish often causes cracking of areas of paint in the works of both masters. The Perugino workshop was active in both Perugia and Florence, perhaps maintaining two permanent branches. Raphael is described as a "master", that is to say fully trained, in December 1500. His first documented work was the Baronci altarpiece for the church of Saint Nicholas of Tolentino in Città di Castello, a town halfway between Perugia and Urbino. Evangelista da Pian di Meleto, who had worked for his father, was also named in the commission. It was commissioned in 1500 and finished in 1501; now only some cut sections and a preparatory drawing remain. In the following years he painted works for other churches there, including the Mond Crucifixion (about 1503) and the Brera Wedding of the Virgin (1504), and for Perugia, such as the Oddi Altarpiece. He very probably also visited Florence in this period. These are large works, some in fresco, where Raphael confidently marshals his compositions in the somewhat static style of Perugino. He also painted many small and exquisite cabinet paintings in these years, probably mostly for the connoisseurs in the Urbino court, like the Three Graces and St. Michael, and he began to paint Madonnas and portraits. In 1502 he went to Siena at the invitation of another pupil of Perugino, Pinturicchio, "being a friend of Raphael and knowing him to be a draughtsman of the highest quality" to help with the cartoons, and very likely the designs, for a fresco series in the Piccolomini Library in Siena Cathedral. He was evidently already much in demand even at this early stage in his career. Influence of Florence Raphael led a "nomadic" life, working in various centres in Northern Italy, but spent a good deal of time in Florence, perhaps from about 1504. Although there is traditional reference to a "Florentine period...

SPECTACULAR PAIR OF PORTUGUESE STYLE BEDS early 19th Century in carved rosewood, headboards decorated with gummed friezes, feathers and plant motifs, with curved feet. Dim.: 190 x...

Chinese Soapstone Carving of a Buddhist Village Scene, Mid-20th century. Shoushan stone carving is an art originating in Fujian Province in Eastern China. Use of the stone for carvin...

A Chinese late Qing Dynasty period footstool from the early 20th century with rattan top, carved apron and side stretchers. Discover the perfect blend of function and art in this ear...

A very large and fabulous 1930s water gilded sunburst flush mount. Hand crafted wooden rays surround the single lamp holder to the centre, originally from a church in Germany this pi...

Annunciazione con angeli, scuola romana del XVII secolo, olio su carta applicata su tela, misure 78x58.5 cm. Questo dipinto ad olio è stato realizzato su una carta, che, guardando in...