Baroque Decorative Objects

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...

This beautiful 17th century carved angel has retained its original paint.

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...

Fine pair of late 17th century, Italian, carved & gilded pricket candlesticks upcycled into table lamps, 29” high Finely carved with classical turnings and ornamentation of the Baro...

Framework. Gilded and polychrome wood, 17th century. Presents loss in lower left area. Frame made of carved wood gilded and polychrome in certain areas that presents a decoration bas...

Italian Venetian-style (20th Century) green glass pear shaped paperweight.

Solid silver jewelry box. This box was made completely by hand, rectangular parallelepiped. To detach it and elevate it from the support surface, 4 small feet made with the casting t...

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...

Candlestick with triangular base. Bronze. Spain, 18th century. Bronze candlestick with a triangular base raised on three legs and enhanced with moldi...

Unusual with the copper band which is highly decorative elevating the calibre of this log bin. Holds a large quantity of large logs or coal. Suitable for everyday use. Could be re-purposed as a jardiniere or wine cooler for a party. An upper band of copper attached to the brass body with copper rivets...

Dress a console, mantel, or vignette with this tall and sculptural Italian giltwood candlestick crafted around 1860. Executed in the Baroque style, the piece features an elegant, elo...

Introducing a captivating 17th-century Italian carved wood and polychromed, gold-gilded crucifix depicting Jesus on the cross. This remarkable piece...

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...

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...

One of a kind traditional Castilian millstone, wheel, or millstone, circular in shape , forming a unique, singular, and impressive sculpture. The piece is made of granite, and vari...

This impressive pair of carved and gilt wood figural candlesticks makes a dramatic statement in a room . The fully carved figures in a left and right pose are well shaped and present well detailed faces and hands with wind swept clothes. Raised up on architectural plinths...

A early 17th century French Gargoyle. Gargoyels were originally intented as waterspouts for churches and castles but soon were used as ornamentation. A...

The Infant St John the Baptist, A first half of 17th century Sevillian School Cercle of Juan de Mesa Velasco (Córdoba, 1583 - Séville, 1627) Polychrome and carved wood Height: 65 cm ...

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...

An unusual and rare processional or lecturer figure from the 17th century, also called Mannequins. Carved from wood and of very good quality. A detailed and particular elaboration of...

Wood a day runner restored Baroque clock, Germany, Potsdam, carved wood, covered in gold leaf. 1750 - 1760

A bronze cast of Diana, Goddess of the Hunt, after Pierre Roche (French 1955 - 1922). The sculpture stands on a square green marble base. Dimensions: Base: 8" x 8" Overall: 10.5" ...

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...

Excellent Meissen porcelain sculpture: Group of seven gardener children in elaborate Rococo clothing placed around a wine press, sitting on it, manipulating the machine, eating grape...

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

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

Elegant pair of winged putti in carved and gilded wood, probably made in the late 18th and early 19th centuries, in full late Baroque/early Neoclassical style. The figures, finely ca...

Fine vintage brass half-bust, depicting a young woman with an elaborate gathered hairstyle. The work, recovered from a stately villa in Caserta, is a fine example of decorative sculp...

Italian Venetian Murano-style (Mid-20th Century) crystal bulbous shaped paperweight with blue and white swirl design.

Pair of angels from the Baroque period, resting on plinths adorned with characteristic curlicue motifs and putti heads; the two figures are depicted in a mirror-image position, one a...

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...

17th century candlestick from France made of brass. The candlestick has traces of use as you can expect after more than 300 years of use.

Hard porcelain bear modeled and painted in gray-brown and black Manufacture of Meissen, by Johann Gottlieb Kirchner and Johan Joachim Kaendler, 1735 It...

Lady in an Armchair 1905 modelled, crafted 1908 Josef Wackerle A rare and characterful work rooted in Bavarian cultural heritage and Nymphenburg’s sculptural tradition. Josef Wacke...

Vintage Bronze and Marble French Baroque Style Lidded Urn Centerpiece Cassolette. Item features Heavy marble and bronze construction, scrolling leafy arms, removable lid, very nice c...

Magnificent and enormous pair of 17th century Italian Baroque period carved giltwood putti wall figures. The pair maintained its original gilding and co...

Seated Virgin and Child, both crowned, polychrome wood carving, Spanish school, ca. 1780 33cm high, 13cm wide This polychrome wood carving, created around 1780, depicts the Virgin se...

Casket Baroque, around 1760, birch burl and walnut, round lid with folding star inlay and pewter thread inlays, original lock and fittings, shellac hand polish Dimensions: Height: 14 cm Width: 26 cm Depth: 20 cm Most pieces of furniture from the Baroque era date from the period between 1670 and around 1750. Starting with strict but pompous forms, Baroque furniture developed into playful pieces of furniture with numerous curves and magnificent fittings by the middle of the 18th century. Baroque chests of drawers mostly date from the period between 1720 and 1750 and feature multiple curved fronts and veneer marquetry. Baroque tables and chairs feature lavishly curved legs, the lower ends of which end in volutes or animal hooves. Towards the end of the Baroque period and the Rococo period, the curved legs of tables and chairs merge into the frames in a single sweep. Baroque cabinets are usually disproportionately large by today's living standards, as they originally stood in castles. Heights of 2.40 to 2.60 meters are not uncommon for baroque cabinets. In early Baroque furniture...

Bronze baluster bowl. Antique bronze votive bowl with ten bronze balusters punctuating the outer surface in high relief. Italy 16th century. Dimensions: 5” diameter top x 3.25" H; ...

This incredible one of a kind hand crafted limestone Head of Commedia dell’arte character Scaramouche was found many years ago by an archeologist in Venice Plaza San Polo by Rialto Bridge. The head is masterfully and very detailed hand crafted out of limestone and placed on a pedestal with an ivory marble base. A truly unique part of Venetian History and an important figure in the world famous Italian Commedia...

A Pair of 19th Century Italian Putti Signed A 2 Baroque figures hand made in wood composition and gesso, 2 playful cherubs, they have twin hooks in the back enabling them to be hung...

A silvered copper and wrought iron Lavabo, Spanish circa 1780 Height: 78.5 cm Diameter: 40 cm. Provenance: Private Australian Collection acquired in 1960s.395

Charles X Gilt Bronze and Rouge Griotte Marble "Mamelouk" Clock, circa 1830, after the model by Louis Dupre (French, 1789-1837), surmounted by a seated figure holding a scimitar, sil...

A very fine and palatial pair of English Baroque style 19th century carved marble sitting lions, the very realistic carved pair with fine attention to detail, each resting its front ...

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 ...

Transport yourself to the opulent splendor of the 18th century with this exquisite find: the lid of a rare baroque hatbox dating back to around 1740. C...

Amazing Baroque sculpture of a woman wearing a crown in original paint. Her hands are missing. Colors are untouched, recently cleaned off from a thick dark coating, I have images fro...

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

With shield in center surrounded by gadrooned and hammered decoration.

A dynamic two-beat gait of the horse, in which diagonal pairs of legs (e.g. left hind and right front) are moved simultaneously, followed by a brief suspension phase in which all fou...

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...

18th century Italian slipware decorated Pottery Group, "Fleeing the Eruption of Mt. Vesuvius in 79AD" in Pompeii resulting in the death of over 100 people.. No marks. N.P. Trent has...

With deeply molded body with central inner scrolled design. The outer with stamped decoration.

Antique Tall Ornate Cherub Bronze Church Candle Holder Gorgeous, tall finely detailed figural winged cherub, brass antique church salvage candl...

Pair of torchères in gilded and carved wood, dated from the middle of the 18th century in Portuguese, the base is a triangular shape that rests on three small feet. retains its orig...

Beautiful Italian " Goethe " Bust early 20th century Carrara marble Measures: H: 41 cm Perfect condition.

The exercise 'In the Pilares' (from 'pilares', Spanish for 'columns') is a non-violent training method in which the horse is exercised between two columns. This method was invented i...

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

Pair of Baroque Style Giltwood Candelabra Sconces, 19th century, each with two fluted arms and lights, rose and foliate carvings. 29.5" H x 18" W x 12" D. Provenance: From a 20 East ...

A fine example of an early 17th century Italian wooden casket or box, possibly pine, with slightly vaulted lid covered with red silk and adorned with appliqued foliate velvet with em...