Baroque Decorative Objects

Large lacquered and gilded wooden sculpture of a seated putto, holding a candlestick at arm's length. He sits on a later faux-marble painted wooden base. The sculpture dates f...

This sculpture represents Santa Ana (Saint Anne) with the infant Mary. Verge.    

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...

An exquisite Pair of Early 20th Century Baroque Style GiltWood Paw Feet Candlestands with paw trifid. Measure 21.5" in height, 7.5" in width and 7.5" in depth.

Pair of 18th Century Danish Baroque Brass Candlesticks €1.143 Add to Cart Description A pair of Baroque candlesticks crafted in solid brass, featuring square, turned bases with conce...

Large English metal pitcher, late 19th century. A handsome early 20th century copper jug with a distinctive patina surface decoration. The large pitcher displays well with a lovely...

Majestic majolica Amphora vase, with a height of 183 cm (72 in) and a diameter of 52 cm (20,5 in): a unique piece, entirely handmade and hand-painted in Gubbio, Central Italy, in 1995. Its surface is decorated with a splendid and detailed reproduction of the famous "The Hippopotamus and Crocodile Hunt", painted by Peter Paul Ruben's (1615). The body of the vase shows remarkable technical capabilities, given its size and complexity. The amphora is divided into three parts: the base, the central body and the neck. The rarity of majolica artworks of this size lies in the technical difficulty of managing the entire creation process given the large size, both for the making of the terracotta artifact and the subsequent decorating phase. During the first firing of the clay biscuit the risk of breakage is very high and also during the second firing of the color majolica hides many pitfalls, this explains the rarity of artworks of this size, the difficulty of the decorations and consequently their value. Description of the reproduction painted : Peter Paul Rubens created the canvas oil painting entitled The Hippopotamus and Crocodile Hunt between 1615–16. The hunt takes place on the banks of the Nile, as indicated by a palm tree in the background. As hippopotami and crocodiles were considered dangerous nuisances, their destruction was a duty performed by noblemen. The hunting party comprises three men in orientalizing costume—mounted on Arabian horses, who hunt with lance and sword—and two valets clad in roughly-hewn jerkins—one of whom has been killed by one of the beasts. The enraged hippopotamus tramples the crocodile, as both are attacked by the hunters and hounds...

Fine 18th century ebony and bone inlaid table cabinet with geometric and line inlay on eight drawers with turned bone knobs and standing on turned e...

This sculpture represents Santa Ana (Saint Anne) with the infant Mary. Verge

Pair of 19th Century Italian Painted And Gilt Altar Sticks or Prickets. Pair of antique Italian Baroque style painted altar sticks, candlesticks, can...

Baroque brass candlestick for pillar candles. The body features a profiled brass base with a centrally mounted hand-forged wrought iron spike to secure the candle. Denmark, circa 17...

A very fine pair of 18th century brass candlesticks. Each with an octagonal base supporting faceted stems and candle cups. (Each candl...

This is an elegant pair of porcelain sauce bowls with floral drawings in red and blue. It is beautiful for a table dressing or to collect. The production of this well known Italian...

Vintage Gilded and Painted Vintage Wood Alter Candlesticks, Italy. Authentic carved alter sticks with original paint and patina, untouched. Wonderful add...

A stunning pair of hand carved silver giltwood antique Baroque 19th-Century Italian tripod form base pricket candlesticks. These gorgeous candlesticks are of nice large size, silver ...

This exceptional white marble of the Sleeping Cupid sculpture, lying on a finely carved giltwood base, was created by the well known Florence artist Gioacchino Fortini, living in Flo...

Victorian Gilt Bronze figure of a Child playing the Cymbals Sitting Cross leg on a rock, fine detailed casting, on the face, Hands with the cymbal band wrapped around, Stripes on...

Italian contemporary hand-carved wood frame with gold leaf cover. Available in custom sizes. Measures: cm. 41 x 8 x 42.5 (internal cm.22 x 23).  

Pitcher ‘cantaros’ from Calanda, Aragon-Zaragoza area of Spain. A rare piece from a Private collection, circa 1890. Other examples can be seen in the Museo de Zaragoza. With gorgeou...

Pitcher ‘cantaros’ from Calanda, Aragon-Zaragoza area of Spain. A rare piece from a Private collection, circa 1890. Other examples can be seen in the Museo de Zaragoza. With gorgeou...

Courbette (from the French courbette, 'deep bow, curtsy') is an exercise in the high school of classical horsemanship which, like croupade, ballotade and capriole, is one of the scho...

Large solid silver vase. Of large dimensions, this vase was made entirely by hand in a revisited baroque style. The base is very wide where embossments and hand engravings have been ...

A pirouette (Old French 'pirouet' = spinning top) is a movement performed by a horse in equestrianism and a dressage exercise. In particular, the turn around the hindquarters at a ga...

Antique baroque sterling silver little love cart late 19th Century, Italy. This a very nice and lovable piece of art fine art jewellery. Totally han...

A Baroque style vintage bronze statuette of a putto carrying a wicker fruit basket with silver patina. Inspired by the drama and opulence of the B...

Porzellanfabrik, Thuringen, Germany, circa 1920s, by Aelteste Volkstedter. To set a breathtaking table, first give each guest their own unique porcelain sculpture …. This dramatic co...

A wonderful 19th century letter opener acquired in Paris France. The piece has the bust of a period lady at the top and is very sophisticated and elegant. A compliment to any desk or...

Box shaped enamel is in 925/1000 sterling. Box shaped enamel has handpainted fired enamels miniature. Box shaped enamel is engraved and fire-enamelled ornaments. Box shaped enamel is...

This is a good example of early 18th century Italian solid bronze pricket candlesticks. The tripartite base is supported by ball feet and i...

**Alabaster Sculpture of Saint George Slaying the Dragon, 17th Century – This alabaster sculpture dates from the 17th century. It is fragmentary and displays a beautiful patina. It...

Old tinaja of Calanda (Teruel), Spain. Made of clay with handcrafted semi circular handmade ribbed around the vase This "tinaja" it´s very special for its measurements and irregula...

Rare and Important Pair of Italian 18th Century Giltwood Four-Arm Sconces An exceptionally rare and imposing pair of Italian 18th-century giltwood wall sconces, masterfully hand-carv...

19th century Dutch blue and white delft vase with foliage and pheasant decoration having an elongated neck and graceful, elegant form.

From a chateau in France, these are known as 'bouquets' fashioned after 17th century Baroque style. These "corbeilles" of potted flowers and fruits remain blooming and ripe through a...

An impressive pair of Baroque style patinated bronze candlesticks with baluster form stem and tripod feet, Continental in origin (possibly Italian) dating to the 18th century, conver...

Light and delicate, fixed to a plexiglass panel for easy admiring. The panel is cm. 48 x 19. ref. nr. O/6995 -

Pair of early 18th century brass Altar / mantel candleholders, circa 1717 Superb pair of candle holder. Hand made from solid brass. The base shows the date 1717. Each large can...

Very rare Meissen allegorical group of the 19th century: Ceres, the Roman goddess of the earth (Greek: Demeter), seated beneath a group of tr...

Fine 17th century domed box with highly figured kingwood marquetry veneer laid in a geometric pattern, the front having elaborate pierced and embossed brass escutcheon, the whole wit...

German Bishop in Carved and Polychromed Wood, 15th-16th Centuries An important carved and polychromed wooden sculpture representing a bishop, probably Saint Nicholas or another patro...

Snuff Box Snuff Box Venetian landscape is in 925/1000 sterling silver gold plated 24 carats.. Snuff Box Snuff Box Venetian landscape has translucent fired enamel on guilloche and min...

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-...

Rectangular box with inward corners in sterling silver 925/1000 gold plated with beautiful miniature fire enameled and hand painted by the painter Beatrice Mellana depicting the painting "The Turkish slave" by Francesco Mazzola known as "il Parmigianino" (National Gallery of Parma). Dimensions cm. 8.5 x 11.5 x 3. Weight gr. 345. Designed by Franco Salimbeni in 1965 and manufactured in Florence in numerous specimens with various different subjects, in the headquarters of the Salimbeni company with completely manual execution by artisan artists with thick slab and large reinforcements suitable for withstanding numerous high-fire enameled firings at about 800° C. Miniature is a very ancient technique which consists of painting works in small proportions. It was born for the decoration of the first letter of the paragraph of the books. Over the years, however, this technique is refined and enriched, then moving on to precious personal items. Hand-painted miniatures can be done with multiple different techniques. The most important that we use on our articles are of three kinds: 1) Fire enamel. 2) Water tempera on an ivory plate. 3) Painted on mother-of-pearl. Fire enameled miniatures: On a first layer of enamel generally white or very clear or even transparent suitably liquefied at a temperature of about 750 ° C, the chosen subject is painted using miniature colors which are as many colored crystals, ground and reduced to a very fine, almost impalpable powder washed and purified in distilled water with the addition of small quantities of deoxidizing acids which, diluted with essential oils (usually essential oil of solder), can be mixed to form a palette of colors. With very fine sable hair brushes you draw the subject starting from the perimeter and then gradually adding various layers of color. It is necessary to carry out various firings very often so that the colors harden and are not absorbed by the underlying glaze as, during the subsequent firings at 750 ° C, during liquefaction, it would spread irremediably. Hence the need to form the painting a little at a time, cooking it numerous times. Therefore it is necessary to proceed with numerous retouching, often overlapping different colors that only the painter's experience knows. A beautiful miniature needs from 20 to over 50 firings and is finished when the painter deems he does not have to further intervene. Some colors must have darker tones than others because then, by superimposing the transparent enamel placed at the end of the miniature, they fade. This transparent layer, called “fondant” in jargon, must be smoothed and polished like all other translucent enamel colors. The miniatures with water tempera colors are painted on real ivory...

A pair of four-light gilt bronze Louis XVI style candelabra or table lamps. Each one with a fluted shaft that supports the central light and emits four swept branches. They are no...

Early 19th century wooden statue of St Jerome, circa 1800. South Europe.

Finely carved and gilded wooden frame. Bologna, 17th century. The frame, finely carved with scrolls and leaf motifs, features elegant movements that interpret the finest Bolognese Ba...

Outstanding , Unique and delicate Baroque crucified Christ, following the renowned model created by the Italian Mannerist sculptor Guglielmo della Porta (1515-1577). The body is c...

A pair of candlesticks made from tin. Made in Sweden, Stockholm early 20th century. J.L. Hultman 1923-1957. Made in Baroque style with flattened ball feet and decorated with c-format...

Rectangular table box in sterling silver 925/1000 gold plated with very fine hand-engraving Baroque style on the lid, fire-enamelled in 2 colours. In the center an ancient oval plate...

A 17th-century carved applewood sculpture of the Lady of Sorrow is a representation often associated with Catholic icons, particularly depicting the Virg...

18th century Italian gold leaf angel head or "putto" adorned with baroque pearls. A putto is a cherub figure frequently appearing in both mythological and religious paintings and scu...

An Italian Baroque style Table Clock, it is made of embossed sheet silver with typical Baroque style swirls. Cast details decorate its four...

This glazed Valencia Spanish bowl is a great addition to any collector of Spanish artifacts. It's from the mid-1940. It has brown and black fired

This is an engraving by Johann Georg Wille after the work of Godfried Schalcken. This is a genre scene. Representing a family is sitting around...

Shaped snuffbox in 925/1000 sterling silver gold plated with fired enamel inserted in a fine hand engraving and with round miniature diameter cm. 3.3 hand painted always with fire enamels depicting a sailing ship. Early 19th century Viennese Baroque style. Fine hand engraving on all sides and bottom. Measurements cm. 7.5 x 7.5 x 2. Weight gr. 151. Designed by Franco Salimbeni in 1976 on inspiration of ancient original artifacts and manufactured in Florence at the Salimbeni company headquarters in several specimens, also with different colors and miniatures, with completely manual execution by artisan artists with thick slabs and large reinforcements suitable for supporting numerous high-fire enamelled firings at approximately 750 < 800° C. Miniature is a very ancient technique which consists of painting works in small proportions. It was born for the decoration of the first letter of the paragraph of the books. Over the years, however, this technique is refined and enriched, then moving on to precious personal items. Hand-painted miniatures can be done with multiple different techniques. The most important that we use on our articles are of three kinds: 1) Fire enamel. 2) Water tempera on an ivory plate. 3) Painted on mother-of-pearl. Fire enameled miniatures: On a first layer of enamel generally white or very clear or even transparent suitably liquefied at a temperature of about 750 ° C, the chosen subject is painted using miniature colors which are as many colored crystals, ground and reduced to a very fine, almost impalpable powder washed and purified in distilled water with the addition of small quantities of deoxidizing acids which, diluted with essential oils (usually essential oil of solder), can be mixed to form a palette of colors. With very fine sable hair brushes you draw the subject starting from the perimeter and then gradually adding various layers of color. It is necessary to carry out various firings very often so that the colors harden and are not absorbed by the underlying glaze as, during the subsequent firings at 750 ° C, during liquefaction, it would spread irremediably. Hence the need to form the painting a little at a time, cooking it numerous times. Therefore it is necessary to proceed with numerous retouching, often overlapping different colors that only the painter's experience knows. A beautiful miniature needs from 20 to over 50 firings and is finished when the painter deems he does not have to further intervene. Some colors must have darker tones than others because then, by superimposing the transparent enamel placed at the end of the miniature, they fade. This transparent layer, called “fondant” in jargon, must be smoothed and polished like all other translucent enamel colors. The miniatures with water tempera colors are painted on real ivory...

A spectacular and monumental early 18th Century Austrian carved frame. Almost certainly originally made as an ecclesiastical or architectural surround for an altarpiece, large painti...

Polychrome Wood Carving of Pope Borgia, Spanish School, 17th Century 📝 Description Carved and polychrome wood sculpture representing Pope Borgia (Alexander VI, 1492–1503), made in t...

This particular set of wooden tiles, was handmade with colorful rural scenes, to decorate the sides of the Sicilian carts used during popular folks. Thes...

This is a good example of early 18th century Italian solid bronze pricket candlesticks. The tripartite base is supported by ball feet and i...

Before describing the object under consideration, we must make an important clarification; the artifact, one of many that we will publish over time, is part of the museum collection of a historic Florentine crystal grinder that unfortunately closed recently. It is the Marcello Galgani & Son company, whose completely manual and artisanal work has not withstood the disproportionate advance of mass-produced mechanical processes! Marcello Galgani began his craft as a grinder and restorer in 1960; as the years went by, Marcello mastered and became familiar with particular techniques and shapes, resulting in the production of objects that manage to retain the freshness of grinding and engraving, the warmth and softness of light, and the inimitable flavor of unique artifacts. After several years, his son Lorenzo, who grew up among crystals, also entered the business and immediately became passionate about this ancient craft with skill and ability. Stimulated by the aesthetic sense of the past, father and son, set up a workshop in which the shapes they researched and created themselves are mouth-blown by traditional Tuscan glassmakers in Empoli, then ground and engraved using ancient sixteenth-century techniques, with motifs born from the Galgani's inexhaustible imagination or culturally inspired by designs of objects seen and studied in Florentine museums (Uffizi, Galleria Palatina, Museo degli Argenti, etc.). Marcello and Lorenzo Galgani were also Masters in the difficult art of restoration, bringing rare and precious objects back to life. As mentioned the company recently closed and disposed of all its last production, and only Marcello's old private museum collection remained, which includes unique and special objects created over time, a collection that the craftsman made available to us for a planned sale. All of the objects were made entirely by hand with old grinding wheels, but there were mainly two tools that allowed the creation of masterpieces: the right hand and the left hand of the master craftsman. Ancient glassmaking techniques were used for all the ground and engraved products: first, the object was ground with an emery wheel fed continuously by a jet of abrasive sand and water, then re-polished with a very fine-grained sandstone wheel also fed with water; the engravings were done freehand using as many as 10-15 small stone wheels for each design (flowers, branches, animals, etc. ); then the object was polished and shined; we must make, at this point, an important clarification on these last two operations: towards the end of the 1960s acid crystal polishing was devised, the object was immersed and rotated in a solution of sulfuric acid, fluoridic acid and water and in a short time all the defects left by the previous processes were eliminated, it was a fast, industrial operation that allowed to lower costs considerably, with discrete but not excellent results. But for Galgani's products polishing is done with a cork bark wheel wet with water and pumice, to make the surfaces more transparent, and finally polishing was achieved with a felt wheel wet with a paste of water, iron oxide, and cerium oxide. This series of processes takes an average of two days of work( sometimes much longer) for each object, each engraving or grinding is the result of the creative inventiveness of the two artisans, inventiveness that transforms crystal into reality material of the highest aesthetic value and inestimable value. All the items in the entire collection have never been used; they were part of the exhibition. Large crystal vase; the decorations, in baroque style represent a series of "grotesques" The object is "a unique piece" signed by the Master, it was created in Marcello Galgani's workshop in 1983 and made with the techniques (grinding, engraving and polishing) that we explained in the description; for the shape, the Master was inspired by a vase present in a painting, preserved in the Uffizi Gallery in Florence by the sixteenth-century painter Jacopo Ligozzi...