Baroque Decorative Objects

Diese antike Biskuitporzellan-Büste ist eine meisterhafte Hommage a den tragischen „verlorenen Dauphin“, Louis XVII (1785–1795). Das Werk basiert auf den berühmten Entwürfen des köni...

A charming candelabra shaped like two intertwined cornucopias. The base is made of cathedral-style sheet metal, to which a leafy border has been soldered. The base is raised from the...

Lovely large pair of putti one holding a torch and one a scroll with faint guilding

19th century Baroque style candle stand. Italian Baroque style wooden carved with gilt painted lacquered surface candle holder stand with pawn fe...

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...

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...

Baroque After Francisco Ruiz Gijon Saint Francis of Assisi Polychrome and Parcel Gilt Carved Wood, Insert Glass Eyes Spain, Late 17th Century Francisc...

17th Century Spanish carved oak wood sculpture of Saint Francis Xavier, the co-founder of the society of Jesus.

German Baroque 800 silver tea caddy, ca 1890. Rectilinear with curved corners; top flat and plain with short neck and cover. Chased and embossed flowers with crisscrossing leafing st...

Likely Italian, but possibly German origin - 19th century A pair of finely carved wood figures of Spanish Conquistadors or German Landsknecht. Each modeled in the Renaissance attire...

Virgin and Child, polychrome wood carving, Hispanic school, 16th-17th century This carved and polychrome wood sculpture depicts the Virgin Mary with the Child in her arms, crowned an...

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...

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

Triptych of purple candelabra with mechanical clock in baroque style 1990s New

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...

Large cup made of red marble from Vitrolles turned foot, garnished with shells. Composition of shells including a leopard cone (conus leopardus), a horned helmet (cassis cornuta), tw...

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.

Lion of Saint Mark with motto in Botticino marble - Serenissima - "Ti con nu, nu con ti" - 85 x 85 cm - Venice Spectacular and unique high relief in Botticino marble, depicting the ...

19th century Dutch patinated copper jardiniere in the Baroque style.

Pair Hand Carved Wood Finials Vase Shape Centerpiece Urns Antiques Los Angeles. Beautiful Pair of late 18th century Italian Baroque style carved wood finials urns . Worn distressed d...

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...

A set of handblown early 18th century Oil and Vinegar Flacons. Following the French Court etiquette rules and a taste for luxury spreaded around Europe in the 18th century. Eating be...

Virgin and Child in Polychrome Wood on a Cloud with Cherubs, Spanish/Colonial School, 18th Century This devotional sculpture in carved wood, 61 cm in total height, depicts the Virgi...

Part of Marcin Rusak’s signature Flora collection, the wall-hanging Flora Lens 65 constitutes a unique decorative piece that works well in a variety of settings. Based on discarded flowers carefully submerged in resin, this convex piece is entirely handmade in a labour-intensive process, in which everything, from collecting and processing the flowers to encapsulating them in cast resin, and to setting the material on an aluminium wall hanging system...

Saint Barbara, polychrome wood carving, 18th century, 50 cm This 18th-century polychrome wood devotional sculpture depicts Saint Barbara, recognizable by the chalice she holds as a s...

Gold Gilt Gesso Frame German Decorated Wall Plaque Plate c1920s

Antique marble Centenary, 19th-century. Once used during the grape harvest, today it can be used as a decorative element or as a water basin, etc. (with the option of drilling a hol...

This stunning clock sits at 23.50 in. Perfect for any desk or study décor. Inspired by the early 1800's. Polished regularly.

19th century bronze from Moulin Elegant 19th century bronze signed by the author. In Patinated bronze and simulation of porphyry. Measures: 50 x 35 x 16 cm Good condition.

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

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...

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, 19th century After a model attributed to Guglielmo della Porta (1515-1577) Relief of the Pietà Gilt bronze, on a perspex stand 18.8 cm. x 13 cm. PROVENANCE: Private coll...

Our Lady of Portillo of Arévalo (Our Lady of Mount Carmel), polychrome wood carving, Spanish school, 17th century 📝 Description Devotional carving in polychrome and gilded wood repr...

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...

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

hand carved from pine in the 1700s, this unique Italian altar candlestick holder features a lovely foliate rinceaux dotted with volute scrolls. The intricate weaving of curled leaves...

Extraordinary and unique, this gorgeous large sculptural copper panel depicting 16 charming dancing Putti, playing and amusing themselves, with 1 dog and 1 bird, after Clodion, early...

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 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 ...

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

The 17th century putti raised on gilt bronze-mounted neoclassical porphyry bases from the late 18th century.

A Period German or French large scale Baroque Garden Statue of a Pan Satyr. Well carved with impish gaze and wrapped in sheepskin Ex Prominent New York Co...

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

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...

Flemish Field Altar Virgin, Burgundy, 15th Century An extraordinary 15th-century Flemish carving from Burgundy, made of polychrome and gilded wood, depicting the Virgin and Child. Ap...

A wonderful pair of European Baroque style 800 sterling silver bud vases.

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...

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...

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

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

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 ...

An important set of four 17th Century Italian Baroque, highly decorative two-light pricket candelabra. Each finely carved in wood and retaining a painted and parcel-gilt surface. Ea...

A striking Baroque angel torchbearer sculpture carved in wood and retaining traces of its original polychrome decoration. The figure is depicted standing in a graceful contrapposto ...

A Italian Gilt Bronze Hermes 19th Century H: 30cm very good condition.

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 charming pair of Spanish Baroque carved wooden cherubs dating from the 17th century. Each figure is hand-carved in solid wood and retains its original antique polychromy with a war...

Silver plated candelabra - Ganci Argenterie - Made in Italy, Milano 6 flames handmade Candelabra - Ganci Argenterie - Hallmark 110MI - one of the oldest Italian Silversmith.  

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...

A gilded wooden sculpture of a cherub’s head from the 17th or 18th century. A sculpture of an angel’s head in the Italian Baroque style from the 17th or 18th century. H: 17 cm, W: 1...