Baroque Decorative Objects

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...

A rare and very charming door knocker, Venice, 17th century in bronze with special patina.

Fine 18th Century Venetian candle stand or spike, hand-carved and gilded wood. Beautiful columnar shape on a square platform base on bun feet. This go...

Rare 16th century Nuremberg box In iron, measurements: 13 x 18 x 12 cm Good condition.

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

Our artisan's pieces are a dream come true, as in The Frog Prince. This ceramic piece is completely hand-crafted and painted with love and care.  

Masterpiece and Museum Pair of Feet of "Mercury" 17th Century in Greek Thassos marble late 17th century early 18th century 17th/18th century 120 x 50 x H 70cm good condition for the ...

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...

Large four-armed candelabra and five flames Antique - Decoration - Table Measures : Ø 33/36cm H:73cm Silver-plated metal - round hourglass column base - four scrolled arms - vase-sha...

Pair of 19th century antique baroque Italian candlesticks, hand carved in giltwood with a lovely patina. Expertly hand carved on scrolled feet, these candlesticks stand over two feet...

A beautifully crafted antique silver-plated fruit basket, featuring an elegant pierced gallery rim and a finely detailed rope-twist swing handle. The oval form rests securely on a raised foot, offering both functionality and refined presentation. This versatile serving piece is ideal for displaying fresh fruit, decorative arrangements, or as a standalone table centerpiece. The bright silver surface, enhanced by intricate cutwork and decorative borders, reflects the craftsmanship of late 19th to early 20th century silver plate. Whether used for entertaining or collected as a decorative object, this silver-plated serving basket adds timeless elegance to any dining table, sideboard, or antique silver collection. Antique silver-plated fruit basket Pierced gallery rim with rope-twist handle Oval form with raised foot Ideal as a serving basket or table centerpiece Decorative antique silver tableware...

Excellent Meissen porcelain sculpture: Very elaborate and lovingly designed group of figures: two young women with artfully pinned-up hair and wrapped in cloths tied around their loi...

Pair of 19th century tall brass Italian pricket sticks.

Round snuff box in 925/1000 sterling silver gold plated with fired enamel on the enameled edge with vertical stripes and fine monochrome miniature hand painted by the painter Renato Dainelli. Diameter cm. 6.2 cm high. 3.4. Weight gr. 222. Designed by Franco Salimbeni in 1967 and produced in Florence in the Salimbeni company headquarters with manual workmanship by skilled artisan artists with thick slab and large reinforcements suitable for withstanding 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...

Important Italian bust "Roman Emperor" 20th Century Marmo di Carrara Measure: H: 63cm perfect conditions

Early 19th Century silver plated putti on a modern star shaped Lucite base.

Pair of 18th Century Candle Bearing Angels. Comprising a pair of charming carved polychrome and gilt wood figural candlestands modeled as angels and on integral raised stands, carved in full round and with gesso stiffened clothing. Decorate a mantel or a console with this important pair of antique polychrome painted sculptural candlesticks. Candle bearing Angels. 18th century carved wood polychrome putti...

This exquisite silvered bronze centerpiece or planter, attributed to renowned French metalworker Victor Saglier, is a testament to 19th-century French decorative art. The centerpiece...

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-...

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...

Gold Gilt Gesso Frame German Decorated Wall Plaque Plate c1920s

Rare and precious Venetian domed case made of richly lacquered and gilded wood, early 17th century, depicting "The Conquests of Venice." Caskets like this one are more unique than ...

Pair of large statues carved in the round, probably representing cerulean angels (although there is no evidence of wings on the back), or allegories of fortune (in which case we can ...

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...

Magnificent "Dorso Masculino" sculpture in Carrara marble from the 20th century. Italy Measures: H. 108cm x 37cm Perfect conditions.

Cast bronze figure of a priest holding a cornucopial form crozier. Mounted on a modern turned ebonized wood socle. The bronze figure is 9 1/2" tall. Overall height including th...

This is an outstanding Italian 18th century carved wood polychromed sculpture of Virgin Mary. The Sculpture is hand painted with some remains of a gold gilt in few places and originated until lately in a private Villa in Tuscany (Italy). The colors are typical red, blue and green are spectacular on this large figure. The Virgin's hands are joined together in a prayer, while standing on a pedestal on the both sides of which are devil's horns (bottom left side horn missing ) symbolising Holly Mary defeating the Evil, protected by the Holly Ghost and an Angel. A story tells the pose of the Virgin Mary sculpture...

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...

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...

Sculptural 18th century Italian candlestick mounted on chalcopyrite and adorned with baroque pearls. This fragment was originally part of a candlestick from a historical church in I...

Stupendous very rare pair of Italian Torcheres, beautifully painted, the top of the torcheres are adorned by an extravagant tree of candle holders, with hand carved tassels and gilde...

This fine wood lacquered wood case is painted both on the sides: there is the elegant portrait of a pretty woman on one side and on the other side, a natura...

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...

This exceptional pair of carved wood figures reflects the early Baroque aesthetic of Northern Italy during the late 16th to early 17th century. Executed with expressive dynamism, eac...

Very tall pair of 18th century Italian Baroque candlesticks. Exquisitely hand carved with wonderfully distressed silver gilt patina, resti...

Pair of carved and polychrome wooden axe-holders - Italy - 17th century Dimensions: 160 x 60 cm (63.5 x 23.6 in)

A shell bowl by Capodimonte in ivory white porcelain divided in three sections with gold edges. Marked with sticker Visconti and the crowned N. Perfect for dif...

A pair of hand-painted porcelain figurines in Baroque style, depicting an elegant lady and a gallant musketeer, gracefully posed in richly detailed 18th-century attire. Crafted in G...

19th Century Italian Faience Floral Decorated Apothecary Jars. Each with applied floral finials. both with latin inscription depicting the type of medicine contained in each jar. One...

Crafted from solid brass, this candlestick holder features intricate black and gold floral etching, bringing a touch of vintage charm to any space. Designed to hold a single taper ca...

The pair of antique baroque style handcrafted iron sconces are decorated with various forms of leaves and are secured by brackets, each with a hole at the top for attaching a screw o...

A Rare Pair of Early 18th Century Baroque Swedish "Pricket" Candlesticks. Nice Proportions- each retaining the original painted decoration and gilding. Made in Sweden circa 1710. A ...

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...

An Italian Baroque brass pricket candlestick with crenellated hexagonal drip-pan and baluster standard on a spreading base with scroll feet. An imp...

Sterling silver frame in Baroque style called Cartagloria. The frame is shaped and decorated with scrolls typical of the Baroque period. In the upper part, in the center, there ...

Pair 17th Century Candlesticks Candle Holder Light in Brass Antique Gift Object . A Very beautiful Simple lines Baroque continental Candle ho...

IMPORTANT CUT-OUT BOX, SÈVRES 18th Century Sèvres. Polychrome and gold decoration with reserves with landscape and figures. Rims and clasp in relief bronz...

Sculptural 18th century Italian fragment with chalcopyrite on a druzy crystal matrix with calcite crystals and gold-plate kyanite. Th...

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...

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...

Large candelabra, presumably made in Sweden in early 18th century. Highly unusual, made in brass, with four candle holders.

La carafe ou vase du célèbre designer français Vincent Darré est une véritable œuvre d'art qui évoque l'enchantement d'un conte de fée. Fruit d'une collaboration éphémère avec Monopr...

A pair of lions of the same design made of stone with escutcheons. Together they bear the date 1701 and the monogram B. W.

A large and striking pair of Italian baroque style giltwood tripod pricket sticks; each tall stick with graduated shaft adorned with foliate carving raised ...

Carrara Marble "Sleeping Cupid" Statue. Does NOT include marble base. Similar marble statue available in similar style but facing opposite direction and child is covered with bla...

The sculpture features a small dancing Angel 'Putto" supported on a marble block with wonderful detailing on the draping cloth and face. The sculpture is supported by an iron rod stu...

In this listing you will find a unique Baroque 3-arm candelabra done in wrought iron. It features a small fresco of Saint Joseph holding a white lily. The candelabra is rich in flora...

Vintage Pair of Candlesticks, Italian Baroque style, 19th century. Pair of big candlesticks is a very refined decorative object in brass and gilded metal. 55x14 cm each. Ve...

A fine and important Norwegian tankard in birch burl wood with carved lion motif on top of lid, thumb piece and feet. Beautiful color, ceremonial mar...

A Timber Group of Sleeping Silenus and Youth, Probably Dionysus, 17th Century Provenance: Acquired from a private collection, Paris c. 1980s. Description: Reminiscent of Flemis...