Wood Furniture

19th century Italian carved wood marble-top console. Has carved Puttis to the front and sides. Marble is green and one inch thick. The console is all carved wood.

Very large 19th century 3 dimensional French Baroque gilt wall mirror This superb very large and elaborate 11” wide gilt frame encloses this mirror, the frame has an inward downsl...

An attractive Austrian mid-18th century Baroque period quarter-striking bracket clock by the maker Andreas Hohenadl (1714-1793), Vienna. The ebonised fruitwood case with figurative b...

Beautiful and elegant baroque chest of drawers, sans traverse, walnut with two drawers, front and sides are curved, wonderful veneer picture und marqueterie on all sides.  

19th Century Baroque Lid Chest, Chest Blacksmith Iron Early Solid wood decorated with rich wrought iron fittings.       

Antique Italian ballot urn shaped wooden box, carved and painted, coming from Tuscany, Monte San Savino near Arezzo in Central Italy. This ballot urn is an excellent example of a 17th century wooden voting box...

This captivating 19th-century still life oil painting by the award-winning French artist Charles Henri Franzini d'Issoncourt is a testament to his artistic talent. Recognized at the ...

Antique Italian polychrome parcel gilt carved wood Florentine painting frame. Item features distressed polychrome painted gold/silver gilt f...

Italian baroque walnut cupboard from the late 17th-early 18th century. Wonderful carvings including leaves, rosettes, and winged angel carved m...

Of comfortable size, the four beautifully turned legs joined by conforming stretchers, scrolling, carved arms. Clean up and polish included. The chair needs to be re-upholstered and...

A rare, matched pair of ebonised armchairs from The Baroque & Baroque-Revival Periods & An Antiquarian, Baroque stool - From a private, furniture collection, acquired to represent three different periods of European manufacture & collecting of ebonised furniture...

An exceptional, large 18th century treen turned fruitwood dairy bowl with a rich lustrous patina Provenance: Collection of the late Geoffrey Harley, Pickwick End, Corsham The f...

Large deep 17th century Spanish oak bench, or settee, in aged dark brown color. Long with deep seat. Sturdy mortise and Tenon construction, all ori...

Impressive 18th century baroque armchair, Sweden, circa 1730. Upholstered in raw linen. Good condition with wear consistent with age and use. Historical secondary color. Structur...

Antique French Baroque Rococo style pierce carved wood large gold mirror. Item features remarkable pierce carved wood frame, burnis...

Genovese giltwood carved lantern. Currently wired for three lights.

Pair of baroque chairs made of solid oak with openwork backrests with an upholstered centre bar and carved vegetable décor with shell ornament on the curved frame. The chairs are covered with blue velvet. Shown in: Eller, Möbel des Klassizismus, Louis XVI and Empire, Munich 2002, p 204:301; and W. Schwarze, Antike deutsche Möbel...

This Spanish Fratino console table from the mid-19th century features a rectangular top with beautiful patina over a baroque style trestle base. Two lyre-shaped legs are connected to one another as well as the table top via a beautifully carved cross stretcher. There is a perfect balance between the simplicity of the top and the rich carving of the base. Placed against a wall in a living room, library, or foyer, this Spanish lyre legs console table...

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

Vintage Spanish Sgabello carved side chair or stool depicting the "Valencia" shield This chairs come from a Monte Picayo Casino, Valencia, Spain.

19th century French bistro table with iron lyre legs & wood top with drawer Really chic and beautiful Original patina Restored top.   

A pair of Spanish Baroque style walnut console tables from the late 19th century, with carved legs and iron stretchers. Created in Spain ...

18th century Venetian center table red lacquered with painted gilt figures with one-drawer a very unusual and rare Venetian table with lovely ...

The small Dutch Baroque draw-leaf or center table with a two-board framed top having conforming extension leaves on each end, above a plain frieze, supported by massive plaint turned...

A most fascinating and intriguing hand carved objet d'art of a treen figure in burl wood, exhibiting wonderful form, grain, colour and patina. The underside bearing remnants of an ol...

The Frisian bureau is in excellent condition with bracket feet and curved front on either side. It still retains the original brass hardware drawer pulls...

Pair of 19th century Italian hand carved candleholders. They are both finished in 22-karat gold leaf and hold nine candles each. They originally sa...

Spanish Baroque period monumental carved and partially gilt wood frame holding a mirror. Carved during the 18th century, the frame is in great antique condition with age-appropriate ...

This bronze chandelier of 1700, in ancient times, up and down (see tie rod under the sphere), worked with candles, was subsequently modified and made electric with E14 bulbs and orig...

Solid silver chocolate pot in Baroque style with feet. The spiral work makes it very bright due to the faces that mirror each other. The body of the chocolate pot is supported by 3...

A fine Italian early 18th century giltwood torchère on triform base carved on the front side, with seven scrolled gilt-metal candle arms. Measures: 215 x 45 cm.

Italian secretaire standing on bracket feet with four drawers and trapezoidal top with an inclined flap. The walnut veneer is contrasted with panel-shaped frames and decorated with a...

18th century Italian architectural pediment decorated with chesapecten Jeffersonius shells with barnacles and crystal quartz points. The 18th century architectural pediment originall...

A Swedish Baroque style mid-20th century oval table. This painted wood table features barley twist legs and a nicely shaped cross stretcher. The table is raised on ball feet. The sim...

Ancient and important gilded console, composed of, gilded wooden mirror, with very rich sculptures, and marble console top with carved and gilded le...

A most decorative and very unique Italian 19th century Baroque style giltwood and glass cocktail table. The table is raised by richly carved X shaped supports with striking scrolled ...

Original oil on canvas painting by the very talented French artist Charles Henri Franzini d’Issoncourt who won an award in Paris at the Universal Exposition in 1900 for his artwork. ...

Rectangular chest with flat top raised on six legs with disc shape finished by moldings. The fronts of the furniture have a smooth area down, a thin molding that is repeated on the t...

Antique cabinet or cupboard from a German monastery. Made of solid oak. Mostly from the late 18th century. Body with beveled corners and protruding header. Cassettes on the side. ...

This a gorgeous mirrors in a golden wood frame with engraved fruits and flowers, full of details. It is visible a red color, where the gold is fading, that is the basis color used in...

Unusual Spanish Baroque style giltwood sunburst mirror with mirrored circles decoration. Spain,1940s. This sunburst mirror features a highly decorative carved frame with mirrored cir...

Solid wood, silver-plated on softwood. Straight body on a fitting curved frame, over sculptural carved claw feet. In the convex and concave curved front four drawers of different siz...

Good 17th century Flemish oak oval hunt or tavern table having unusual hook ends over turned legs joined by shoe feet, the whole possessing mellow silvery brown patina. Width list...

Fine 18th century Danish late Baroque secretaire in its original finish with three drawers in the bottom half. The desk compartment features four drawers ...

Neoclassical Baroque style handcrafted mirror. Hand carved wooden structure with gold foil finished, Spain, 1970.

A fine and extremely rare figured walnut and seaweed marquetry 'lace box', circa.... let’s break it down - Seaweed marquetry first appeared in Englis...

Stunning pair of baroque style Savaranola chairs having rich ashwood frames and supple newly upholstered black leather seats with brass nailheads.

The oval openwork bowl adorned with floral swags; raised on a splayed openwork base.

A large-sized Swedish 18th century period Baroque "Kas" or "kast" cabinet with low relief carvings of foliage and lions heads. This antique wardrobe from Sweden features a nicely mol...

A Swedish 19th century Baroque style desk or table with single drawer. This antique Swedish desk features a rectangular-shaped top, a clean apron ...

Wood and gilt bronze wall mirror, France, late 19th century.

Exceptionally rare, large, museum quality, Tuscan, Baroque, walnut, rent or center table or tavolino with detachable top and single drawer - This beautiful, rent table is an unco...

A finely carved partially Italian gilded corner bracket, silver leafed and painted with a dark green veined marble top bordered in gilded bronze. The rounded top supported by two carved palm frond...

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 Spanish Baroque style freshly bleached walnut trestle base farm table from the early 19th century, with two drawers and distressed patina. Created in Spain during the first quarter...

Exquisite 18th century Spanish cupboard or bookcase with glass vitrine, constructed from walnut and original glasses of this period. Features a coffered case fronted by four large do...

Impressive 17th century Tuscan baroque solid walnut dining or refractory table. Two solid walnut board top over a carved base with coat of arms and 2 tabernacle drawers on the sides ...

Spectacular pair of 18th century Italian prickets, great old worn finish/patina. Great scale and proportions.