Baroque Decorative Objects

With rectangular form frame and finely carved acanthus leaf. Original liner is tin. Provenience from Aristocratic family of Tuscany.

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...

This is a wonderful Continental 18th century pricket stick. The pricket is composed of turned walnut and is sculptural in its turnings. This candle stand is in overall good condition...

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...

Antique French Baroque Louis XV Style Gold Gilt Bronze Cherub & Glass 2 Tier Compote Candy Dish Stand. Circa Early 20th Century. Measurements: 24" H x 10" W x 10" D.

With rectangular form frame and finely carved acanthus leaf. Original liner is tin. Provenience from Aristocratic family of Tuscany.

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

These ornate 18th-century wall sconces are crafted from carved and painted wood with traces of original gilding. Shaped like a curling cornucopia, they feature lush acanthus leaves, ...

Sterling silver frame in Baroque style called Cartagloria. The Cartagloria was used starting from the sixteenth century. The Cartegloria was placed on the altar, usually inside a wooden or silver frame, which shows some Latin formulas of the Roman Missal...

Very large and impressive 19th century Italian Walnut Chest with Pietra Dura Plaques. The plaques are possibly earlier than the box.

Large Terracotta relief of the flight into Egypt Lombardy, first half of 17th century Painted terracotta 91 x 85 x 11,5 cm This event in the early life of Christ is recounted i...

Important and Rare Italian box safe from the 17th century In chiseled bronze, decorated with jasper plates and hard stones, with a cameo with a male figure at the centre. Inscriptio...

An imposing sculptural bust carved in white marble depicting a nobleman or high-ranking military dignitary from the Baroque period, likely inspired by European models of the 17th and...

Truly one of a kind pair of old handmade reclining lions. These are unsigned and used a mixture of clay and fiberglass fibers. They show very heavy signs of loss over the years b...

9 Various Italian Venetian (1890s) Murano glass ornaments of various colored flowers with clear glass stems (PRICED EACH)

Pair of outstanding 18th century brass over wood (repousse) pricket candleholders. Wood is hand-carved and painted, with the fronts covered (repoussed) in brass. Candles are placed o...

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

XIX Century, Pair of Venetian gilt bronze fireplace Chenets in Baroque Style This imposing pair of Fireplace Chenets in finely chiselled and gi...

Place this elegant antique Madonna and Child sculpture in a living room, bedroom, or private devotional space. Hand carved in Southern France circa 1780, the two-piece composition de...

This finely crafted carved wooden figure from around 1800 showcases exceptional artistry and detail. The seated figure, dressed in its original white garment, exudes a gentle, childl...

Pair of 3-lights candelabra in Baroque style. The candlesticks were made with the technique of casting, engraving and chisel completely made by hand. The oblong-shaped base rests on ...

Marble statue in the style of François Duquesnoy. We have a similar statue available of "Sleeping Cupid" available as a gorgeous pair. See other listing. Please note, the marble p...

A striking pair of late 18th century terracotta lions from Naples, retaining their original polychrome. Expressively modeled with bold manes and stylized faces, they reflect the thea...

This delightful antique sculpture was crafted in France circa 1890, and depicts two cherubic children at play with a goat in a joyful, animated composition. Sculpted in clay and sign...

Italian woodcarving with faience column, 19th century. Decoration in relief: "Head of Christ with crown of thorns" and marbled in blue. Height: (total) 131 cm. Good condition.

Jewels porcelain with high-quality, engraved and patinated bronze mounting. Ovoider, partially carcassed body on raised Qudrat foot with decorative plastic garlands, curly rising lid...

Hallmarked in London in 1842 by Robert Hennell III, this very attractive, Victorian, Antique Sterling Silver Basket, features an ornate body with pierced decoration and cast and applied detailing, 4 cast feet, and an ornate cast swing...

Pair of earthenware jugs, 18th century, Italy. Decorated in shades of blue, depicting a chalice and monstrance, with the initials "SS" for the Blessed Sacrament. Minor defects. Heig...

This commanding pair of monumental Italian pricket candlesticks, dating to the mid-to-late 19th century, represents the height of Baroque Revival craftsmanship. The paw feet, swellin...

Highly decorative pair of vintage wrought iron wall sconces candelabras featuring an intricate hand-twisted design with elegant looped and knotted detailing. Finished in red-painted ...

Bronze inkwell dated circa 1880, angels subject supported by feline paws. Ink bowl in glass with bronze profile and "alla ruota" engraved base.

RARE EUROPEAN MUSIC BOX 19th Century European, box with 50 discs of 30 cm, double comb, manufactured in the late 19th century. Stone-eye capped with metal application. Top decorate...

A pair of hand crafted wood and gilt gesso overlay baroque display stands (ideal for clocks or small statues and busts), each with applied harleq...

Venetian 1700s lectern from the Baroque period. Baroque-era lectern, from the early 1700s, from the Veneto region (Venice) Made of gilded wood with mecha technique and with floral ...

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...

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...

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 ...

This expressive antique polychrome carved wood sculpture depicts Saint Thomas the Apostle, identifiable by the carpenter’s square held in his hand, his traditional attribute, and the...

This 20th Century French wooden Baroque decoration features richly sculpted fruit motifs and traces of its original polychrome finish, offering a striking example of ornamental craft...

With shield in center surrounded by gadrooned and hammered decoration.

One of a kind patinated bronze bust of a child on a stepped ebonized wood pedestal,François Duquesnoy school, decorated with tortoiseshell look alike inlays. The bust shows a clea...

Pair of amphorae in 800 silver and 24% crystal. The elegant 18th century style of the amphorae makes them suitable for a classic style home with prestigious and refined furnishings. ...

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...

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 ...

Incredible portuguese silver jewerly box with semi-precious stones on the lid circa 1850.

Amazing and Rare Master Piece Foot of Mercury in Greek Thassos marble, 18th century Magnificent, large-scale work. 120 x 50 x H 70 cm Good condition The "foot of Mercury" refers t...

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...

A pair . Pair Of Vintage /Antique? Barker-ellis Silver Plated Convertible Candelabras/candlesticks made in England The silver vintage/ antique candleholders are beautiful . Each candelabra includes a removable candle snuffer and/or you can remove the arms and have single candlesticks. The candlesticks have curved arms and square bases with ornate curved design. These will Add a touch of elegance to your home decor ., they are perfect for creating a cozy and inviting atmosphere during any occasion. The Art Deco style and post-1940 age make them a unique addition to your collection. Crafted with high-quality silverplate, these candelabras are not only stylish but also durable. adds to their charm and elegance. Ideal for any vintage or antique silver collector...

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

The levade (French 'se lever' = to rise) is an exercise in classical horsemanship in which the horse shifts its weight onto its bent hind legs, raises its torso at an angle of less t...

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...

Female Figure Sculpture Léopold OUDRY (1854-1882) Art bronze bust, set on a lacquered wooden base. Signed L.Oudry. Height: (total) 40 cm G...

Large size cast Bronze with high detailing Champagne bucket with Greek gods of wine and fertility on the sides. High polished lost wax bronze casting with a...

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

18th century French carved-wood panel of a scene of Cherubs burying their pet, expressing that God cares about all of creation, and since pets are part of that creation, they are included in His care and attention. The piece is mounted on a Lucite panel framed with a double walnut molding...

Immaculate Conception in polychrome wood with silver crown, Spanish School, 18th century This polychrome and gilded wood carving depicts the Immaculate Conception, approximately 60...

Beautiful 18th century gilded Italian candlestick prickets. Used in a church during a time when candlelight was the only form of illumination, the backs are still modified to push a...

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...

Head of a saint from the 18th century. The head is in good condition, it is made of wax, with glass eyes. Italy 18th century. Measurements: 20x22x15 cm.