Early 1900s Furniture

Discover a piece of history with this vintage Richters German anchor blocks building toy, also known as Der Geschickte Baumeister. Made in Rudolstadt, Germany, circa 1900, this set c...

A monumental 20th century Spanish trestle table, having a rectangular framed solid pine inset board top, resting on hand carved, classical lyre legs joined by a beautifully wood stre...

Antique Italian Baroque Style Ornate Carved Wall Mirror This antique Italian wall mirror is a stunning piece that exudes elegance and sophistication. Crafted with meticulous attent...

Housing a rare 3 lights each, sitting in crystal bobeches, dripping with murano drops. These will be newly wired with certified US UL sockets for the USA and appropriate sockets for...

A charming small Italian mirror that speaks to the heart of Italian artistry and romantic design. The mirror's frame is an exhibition of exquisite carvings, with scrolled acanthus l...

Housing a rare 3 lights each, sitting in crystal bobeches. One of a kind sconces! Completely beaded. Swags of crystals throughout. Each adorning extremely rare sea foam green Mur...

A highly decorative pair of hand painted marriage portraits depicting a man & woman in 17th century courtly attire. Both figures shown surrounded by flowering vines - he surrounded b...

Baroque style solid brass double inkwell set with letter holder, c. 1900-1910. A gorgeous desktop accessory ornately adorned with cherubs, flowers and scrolling acanthus leaves. In...

Vintage 43" Tall Baroque Style Silver Plated Collapsible Floor Candlesticks in Funeral Box - a Pair. Item features original storage box with tag that reads "Philip McChesney Funeral ...

Vintage Dutch Country French Baroque Style Silver Plated Figural Jewelry Box. Circa Early 1900s. Measurements: 1.5" H x 8" W x 6" D.

This is a good example of a late 19th/early 20th century pair of French 5-arm carved and gilt chandeliers. It is unusual to find a matched pair of chandeliers; so these are a true fi...

In the heart of a classic French bedroom, where time seems to have stood still and elegance reigns supreme, lies a masterpiece of craftsmanship a gilded wooden bed of unparalleled be...

Antique French Aubusson Tapestry Birds Wool & Silk Large 5x9 1900 4'10" x 9'2" 148cm x 280cm "This is an outstanding antique French Aubusson tapestry in a fantastic large square size- This wool & silk treasure incorporates impeccable attention to detail- Depicting a scene of Hermes and Mercury...

Antique French Aubusson Tapestry Birds Wool & Silk Large 5x9 1900 4'10" x 9'2" 148cm x 280cm "This is an outstanding antique French Aubusson t...

Elegant Antique Chandelier: A Testament to Craftsmanship and Grace Behold the splendor of the past revitalized in our meticulously restored old chandelier, a true masterpiece that e...

Antique French Renaissance/Baroque Green Distressed Hand Painted Radio/Bar Cabinet Cupboard. Item features a 2 part construction, carved baroque style legs, wonderful hand painted co...

Baroque Style Putti Letter Rack with 2 Inkwells This is a very grand desk top inkwell, the letter sections are decorated with Putti and Cherubs th...

Immerse yourself in the grandeur of our Antique Baroque Buffet, a hand-crafted masterpiece made from premium walnut, and meticulously restored b...

Specchiera Legno Decorata a mano in autentica foglia oro intagliata a mano Barocco Italiano del ‘900 Ideale per progetti di interni unici e raffinati Integra e in perfetto stato ...

Wonderful print Chromolithograph Published by Connoisseur circa 1900 Unframed.

Antique Verdure Tapestry French Tapestry Handmade Antique Large Tapestry 1900 Measures: 5.4" x 7.4". "A magnificent antique French tapestry depicting magnificent verdure and greenery. This piece includes rare black colors. Beautiful colorway, and an easy, chic addition to any space."-Antique Rug Collection Size 5'4" x 7'3" 163cm x 221cm Serial ID # 10095k Design Verdure Origin France Age circa 1900 Category Antique Pattern Verdure/Floral/Human Figures Material 100% Hand Woven Wool Foundation Material Cotton Color Beige, Green, Black, Brown, Pink, Ivory Quality Great Condition Great condition, minute low area About Us~ Welcome to Antique Rug Collection. Your #1 Source for handmade Antique Rugs & Tapestries at great prices, curated by leading industry expert. We are a 6th Generation antique rug shop with 48+ years of experience working with designers, private clients, dealers, and really anyone looking for a unique antique rug at a great price. We've made an imprint selling rugs...

A monumental 20th century Spanish trestle table, having a rectangular framed solid walnut inset board top, resting on hand carved, classical lyre legs joined by four beautifully iron...

A pair of circa 1920's Caldwell silver plated sconces with waves design and unusual arms, two lights

A circa 1900's French gilt bronze chandelier with rock crystal hangings (12 arms and 6 interior lights.).

Antique French Tapestry Rare Fountain and scenery Large Tapestry 5x7 1920 Circa 1920 "A magnificent antique French tapestry depicting a scenic river including a fountain and a larg...

These will be newly wired with certified US UL sockets for the USA and appropriate sockets for all other countries and ready to hang. Metal scroll with perfect patina. Housing three ...

Beautiful carved oak throne chair made in Denmark, circa 1900. Solid and Sturdy. Re-upholstered at a later date and fabric in good clean usable condition. Solid and sturdy and overal...

An elaborate, grand scaled, all hand blown and etched glass Venetian mirror with foliate and floral designs. From the area of Venice.

A Fine Italian 19th Century Oil Painting on Canvas "La Madonna della Seggiola" after Raphael (Raffaello Sanzio da Urbino 1483-1520). The circular painted canvas depicting a seated Madonna holding an infant Jesus Christ next to a child Saint John the Baptist, all within a massive carved two-tone gilt wood, gilt-patinated and gesso frame, which is identical to the frame on Raphael's original artwork. This painting is a 19th Century copy of Raphael's Madonna della Seggiola painted in 1514 and currently exhibited and part of the permanent collection at the Palazzo Pitti, Galleria Palatina, Florence, Italy. The bodies of the Virgin, Christ, and the boy Baptist fill the whole picture. The tender, natural looking embrace of the Mother and Child, and the harmonious grouping of the figures in the round, have made this one of Raphael's most popular Madonnas. The isolated chair leg is reminiscent of papal furniture, which has led to the assumption that Leo X himself commissioned the painting. Circa: 1890-1900. Subject: Religious painting Painting diameter: 28 inches (71.1 cm) Frame height: 55 1/8 inches (140 cm) Frame width: 46 inches (116.8 cm) Frame depth: 5 1/8 inches (13 cm) Raffaello Sanzio da Urbino (Italian, March 28 or April 6, 1483 - April 6, 1520), known as Raphael, was an Italian painter and architect of the High Renaissance. His work is admired for its clarity of form, ease of composition, and visual achievement of the Neoplatonic ideal of human grandeur. Together with Michelangelo and Leonardo da Vinci, he forms the traditional trinity of great masters of that period. Raphael was enormously productive, running an unusually large workshop and, despite his death at 37, leaving a large body of work. Many of his works are found in the Vatican Palace, where the frescoed Raphael Rooms were the central, and the largest, work of his career. The best known work is The School of Athens in the Vatican Stanza della Segnatura. After his early years in Rome much of his work was executed by his workshop from his drawings, with considerable loss of quality. He was extremely influential in his lifetime, though outside Rome his work was mostly known from his collaborative printmaking. After his death, the influence of his great rival Michelangelo was more widespread until the 18th and 19th centuries, when Raphael's more serene and harmonious qualities were again regarded as the highest models. His career falls naturally into three phases and three styles, first described by Giorgio Vasari: his early years in Umbria, then a period of about four years (1504–1508) absorbing the artistic traditions of Florence, followed by his last hectic and triumphant twelve years in Rome, working for two Popes and their close associates. Raphael was born in the small but artistically significant central Italian city of Urbino in the Marche region, where his father Giovanni Santi was court painter to the Duke. The reputation of the court had been established by Federico III da Montefeltro, a highly successful condottiere who had been created Duke of Urbino by the Pope - Urbino formed part of the Papal States - and who died the year before Raphael was born. The emphasis of Federico's court was rather more literary than artistic, but Giovanni Santi was a poet of sorts as well as a painter, and had written a rhymed chronicle of the life of Federico, and both wrote the texts and produced the decor for masque-like court entertainments. His poem to Federico shows him as keen to show awareness of the most advanced North Italian painters, and Early Netherlandish artists as well. In the very small court of Urbino he was probably more integrated into the central circle of the ruling family than most court painters. Federico was succeeded by his son Guidobaldo da Montefeltro, who married Elisabetta Gonzaga, daughter of the ruler of Mantua, the most brilliant of the smaller Italian courts for both music and the visual arts. Under them, the court continued as a centre for literary culture. Growing up in the circle of this small court gave Raphael the excellent manners and social skills stressed by Vasari. Court life in Urbino at just after this period was to become set as the model of the virtues of the Italian humanist court through Baldassare Castiglione's depiction of it in his classic work The Book of the Courtier, published in 1528. Castiglione moved to Urbino in 1504, when Raphael was no longer based there but frequently visited, and they became good friends. He became close to other regular visitors to the court: Pietro Bibbiena and Pietro Bembo, both later cardinals, were already becoming well known as writers, and would be in Rome during Raphael's period there. Raphael mixed easily in the highest circles throughout his life, one of the factors that tended to give a misleading impression of effortlessness to his career. He did not receive a full humanistic education however; it is unclear how easily he read Latin. Early Life and Works His mother Màgia died in 1491 when Raphael was eight, followed on August 1, 1494 by his father, who had already remarried. Raphael was thus orphaned at eleven; his formal guardian became his only paternal uncle Bartolomeo, a priest, who subsequently engaged in litigation with his stepmother. He probably continued to live with his stepmother when not staying as an apprentice with a master. He had already shown talent, according to Vasari, who says that Raphael had been "a great help to his father". A self-portrait drawing from his teenage years shows his precocity. His father's workshop continued and, probably together with his stepmother, Raphael evidently played a part in managing it from a very early age. In Urbino, he came into contact with the works of Paolo Uccello, previously the court painter (d. 1475), and Luca Signorelli, who until 1498 was based in nearby Città di Castello. According to Vasari, his father placed him in the workshop of the Umbrian master Pietro Perugino as an apprentice "despite the tears of his mother". The evidence of an apprenticeship comes only from Vasari and another source, and has been disputed—eight was very early for an apprenticeship to begin. An alternative theory is that he received at least some training from Timoteo Viti, who acted as court painter in Urbino from 1495.Most modern historians agree that Raphael at least worked as an assistant to Perugino from around 1500; the influence of Perugino on Raphael's early work is very clear: "probably no other pupil of genius has ever absorbed so much of his master's teaching as Raphael did", according to Wölfflin. Vasari wrote that it was impossible to distinguish between their hands at this period, but many modern art historians claim to do better and detect his hand in specific areas of works by Perugino or his workshop. Apart from stylistic closeness, their techniques are very similar as well, for example having paint applied thickly, using an oil varnish medium, in shadows and darker garments, but very thinly on flesh areas. An excess of resin in the varnish often causes cracking of areas of paint in the works of both masters. The Perugino workshop was active in both Perugia and Florence, perhaps maintaining two permanent branches. Raphael is described as a "master", that is to say fully trained, in December 1500. His first documented work was the Baronci altarpiece for the church of Saint Nicholas of Tolentino in Città di Castello, a town halfway between Perugia and Urbino. Evangelista da Pian di Meleto, who had worked for his father, was also named in the commission. It was commissioned in 1500 and finished in 1501; now only some cut sections and a preparatory drawing remain. In the following years he painted works for other churches there, including the Mond Crucifixion (about 1503) and the Brera Wedding of the Virgin (1504), and for Perugia, such as the Oddi Altarpiece. He very probably also visited Florence in this period. These are large works, some in fresco, where Raphael confidently marshals his compositions in the somewhat static style of Perugino. He also painted many small and exquisite cabinet paintings in these years, probably mostly for the connoisseurs in the Urbino court, like the Three Graces and St. Michael, and he began to paint Madonnas and portraits. In 1502 he went to Siena at the invitation of another pupil of Perugino, Pinturicchio, "being a friend of Raphael and knowing him to be a draughtsman of the highest quality" to help with the cartoons, and very likely the designs, for a fresco series in the Piccolomini Library in Siena Cathedral. He was evidently already much in demand even at this early stage in his career. Influence of Florence Raphael led a "nomadic" life, working in various centres in Northern Italy, but spent a good deal of time in Florence, perhaps from about 1504. Although there is traditional reference to a "Florentine period...

Sculptural large pair of antique Baroque Style Acanthus leaf sconces, Germany or Italy around 1900 to 1920. The expressive and vividly hand-carved...

A Fine Italian 19th Century Oil Painting on Canvas "La Madonna della Seggiola" after Raphael (Raffaello Sanzio da Urbino 1483-1520). The circular painted canvas depicting a seated Madonna holding an infant Jesus Christ next to a child Saint John the Baptist, all within a massive carved gilt wood and gesso frame, which is identical to the frame on Raphael's original artwork. This painting is a 19th Century copy of Raphael's Madonna della Seggiola painted in 1514 and currently exhibited and part of the permanent collection at the Palazzo Pitti, Galleria Palatina, Florence, Italy. The bodies of the Virgin, Christ, and the boy Baptist fill the whole picture. The tender, natural looking embrace of the Mother and Child, and the harmonious grouping of the figures in the round, have made this one of Raphael's most popular Madonnas. The isolated chair leg is reminiscent of papal furniture, which has led to the assumption that Leo X himself commissioned the painting. A retailer's label reads " Fred K/ Keer's Sons - Framers and Fine Art Dealers - 917 Broad St. Newark, N.J." - Another label from the gilder reads "Carlo Bartolini - Doratore e Verniciatori - Via Maggio 1924 - Firenze". Circa: 1890-1900. Subject: Religious painting Canvas diameter: 28 inches (71.1 cm) Frame height: 54 inches (137.2 cm) Frame width: 42 1/2 inches (108 cm) Frame depth: 5 1/2 inches (14 cm) Raffaello Sanzio da Urbino (Italian, March 28 or April 6, 1483 - April 6, 1520), known as Raphael, was an Italian painter and architect of the High Renaissance. His work is admired for its clarity of form, ease of composition, and visual achievement of the Neoplatonic ideal of human grandeur. Together with Michelangelo and Leonardo da Vinci, he forms the traditional trinity of great masters of that period. Raphael was enormously productive, running an unusually large workshop and, despite his death at 37, leaving a large body of work. Many of his works are found in the Vatican Palace, where the frescoed Raphael Rooms were the central, and the largest, work of his career. The best known work is The School of Athens in the Vatican Stanza della Segnatura. After his early years in Rome much of his work was executed by his workshop from his drawings, with considerable loss of quality. He was extremely influential in his lifetime, though outside Rome his work was mostly known from his collaborative printmaking. After his death, the influence of his great rival Michelangelo was more widespread until the 18th and 19th centuries, when Raphael's more serene and harmonious qualities were again regarded as the highest models. His career falls naturally into three phases and three styles, first described by Giorgio Vasari: his early years in Umbria, then a period of about four years (1504–1508) absorbing the artistic traditions of Florence, followed by his last hectic and triumphant twelve years in Rome, working for two Popes and their close associates. Raphael was born in the small but artistically significant central Italian city of Urbino in the Marche region, where his father Giovanni Santi was court painter to the Duke. The reputation of the court had been established by Federico III da Montefeltro, a highly successful condottiere who had been created Duke of Urbino by the Pope - Urbino formed part of the Papal States - and who died the year before Raphael was born. The emphasis of Federico's court was rather more literary than artistic, but Giovanni Santi was a poet of sorts as well as a painter, and had written a rhymed chronicle of the life of Federico, and both wrote the texts and produced the decor for masque-like court entertainments. His poem to Federico shows him as keen to show awareness of the most advanced North Italian painters, and Early Netherlandish artists as well. In the very small court of Urbino he was probably more integrated into the central circle of the ruling family than most court painters. Federico was succeeded by his son Guidobaldo da Montefeltro, who married Elisabetta Gonzaga, daughter of the ruler of Mantua, the most brilliant of the smaller Italian courts for both music and the visual arts. Under them, the court continued as a centre for literary culture. Growing up in the circle of this small court gave Raphael the excellent manners and social skills stressed by Vasari. Court life in Urbino at just after this period was to become set as the model of the virtues of the Italian humanist court through Baldassare Castiglione's depiction of it in his classic work The Book of the Courtier, published in 1528. Castiglione moved to Urbino in 1504, when Raphael was no longer based there but frequently visited, and they became good friends. He became close to other regular visitors to the court: Pietro Bibbiena and Pietro Bembo, both later cardinals, were already becoming well known as writers, and would be in Rome during Raphael's period there. Raphael mixed easily in the highest circles throughout his life, one of the factors that tended to give a misleading impression of effortlessness to his career. He did not receive a full humanistic education however; it is unclear how easily he read Latin. Early Life and Works His mother Màgia died in 1491 when Raphael was eight, followed on August 1, 1494 by his father, who had already remarried. Raphael was thus orphaned at eleven; his formal guardian became his only paternal uncle Bartolomeo, a priest, who subsequently engaged in litigation with his stepmother. He probably continued to live with his stepmother when not staying as an apprentice with a master. He had already shown talent, according to Vasari, who says that Raphael had been "a great help to his father". A self-portrait drawing from his teenage years shows his precocity. His father's workshop continued and, probably together with his stepmother, Raphael evidently played a part in managing it from a very early age. In Urbino, he came into contact with the works of Paolo Uccello, previously the court painter (d. 1475), and Luca Signorelli, who until 1498 was based in nearby Città di Castello. According to Vasari, his father placed him in the workshop of the Umbrian master Pietro Perugino as an apprentice "despite the tears of his mother". The evidence of an apprenticeship comes only from Vasari and another source, and has been disputed—eight was very early for an apprenticeship to begin. An alternative theory is that he received at least some training from Timoteo Viti, who acted as court painter in Urbino from 1495.Most modern historians agree that Raphael at least worked as an assistant to Perugino from around 1500; the influence of Perugino on Raphael's early work is very clear: "probably no other pupil of genius has ever absorbed so much of his master's teaching as Raphael did", according to Wölfflin. Vasari wrote that it was impossible to distinguish between their hands at this period, but many modern art historians claim to do better and detect his hand in specific areas of works by Perugino or his workshop. Apart from stylistic closeness, their techniques are very similar as well, for example having paint applied thickly, using an oil varnish medium, in shadows and darker garments, but very thinly on flesh areas. An excess of resin in the varnish often causes cracking of areas of paint in the works of both masters. The Perugino workshop was active in both Perugia and Florence, perhaps maintaining two permanent branches. Raphael is described as a "master", that is to say fully trained, in December 1500. His first documented work was the Baronci altarpiece for the church of Saint Nicholas of Tolentino in Città di Castello, a town halfway between Perugia and Urbino. Evangelista da Pian di Meleto, who had worked for his father, was also named in the commission. It was commissioned in 1500 and finished in 1501; now only some cut sections and a preparatory drawing remain. In the following years he painted works for other churches there, including the Mond Crucifixion (about 1503) and the Brera Wedding of the Virgin (1504), and for Perugia, such as the Oddi Altarpiece. He very probably also visited Florence in this period. These are large works, some in fresco, where Raphael confidently marshals his compositions in the somewhat static style of Perugino. He also painted many small and exquisite cabinet paintings in these years, probably mostly for the connoisseurs in the Urbino court, like the Three Graces and St. Michael, and he began to paint Madonnas and portraits. In 1502 he went to Siena at the invitation of another pupil of Perugino, Pinturicchio, "being a friend of Raphael and knowing him to be a draughtsman of the highest quality" to help with the cartoons, and very likely the designs, for a fresco series in the Piccolomini Library in Siena Cathedral. He was evidently already much in demand even at this early stage in his career. Influence of Florence Raphael led a "nomadic" life, working in various centres in Northern Italy, but spent a good deal of time in Florence, perhaps from about 1504. Although there is traditional reference to a "Florentine period...

A glorious pair of large, hand forged wrought iron Church Altar Gates, Spain circa 1900. These gates would have stood at the entrance to the altar in a chu...

Richters German anchor blocks building toys / Der Geschickte Baumeister Made in Rudolstadt, Germany, circa 1900. Wooden box with printed paper labe...

Spanish wrought iron "X" bench from the early 1900's. The bench has developed a beautiful patina. A new embossed leather cushion has been added recently.

A monumental 20th century Spanish trestle table, having a rectangular framed solid walnut board top, resting on hand carved, classical lyre legs joined by beautifully iron stretchers...

Dive deep into the world of timeless craftsmanship with our exceptional antique side table, hand-crafted from premium walnut wood. Dating back to the early 1900s, this Baroque-inspir...

Will be newly rewired using certified US UL sockets for the USA and appropriate sockets for all other countries and ready to hang! Housing 3 lights each, sitting on gold gilt wood su...

A Florentine carved giltwood tapering hanging lantern in the Baroque manner, each corner supported by figures, with an acorn finial and cupula domed canopy. The interior painted blue.

These will be newly wired with certified US UL sockets for the USA and appropriate sockets for all other countries and ready to hang. Gold gilt metal scroll...

An elegant, molded sterling silver, hinged top box. The top features an onyx panel.

Richters German Anchor blocks building toys / Der Geschickte Baumeister Made in Rudolstadt, Germany, circa 1900. Wooden box with printed paper labe...

A monumental 20th century Spanish trestle table, having a rectangular framed solid walnut inset board top, resting on hand carved, classical lyre legs joined by four beautifully iron...

Newly rewired and ready to hang! We use certified UL US sockets for the United States and appropriate sockets for all other countries. Housing 3 lights each, sitting in crystal bobec...

Housing six lights sitting in crystal bobeches dripping with vintage crystal prisms. Will be rewired with certified UL US sockets for the USA an...

An antique central medallion rug is a fine example of an Antique Rug woven in the 1900s. Handwoven with intricate details in orange blue and red accent colours. The design features a...

4 original chairs from the 1900 period in oak these chairs are very well made, very light and nevertheless very solid, because although not restored there is no lack or broken bars...

1 original chairs from the 1900 period in oak These armchair is very well made, very light and nevertheless very solid, because although not restored there is no lack or broken bar...

1 original bench from the 1900 period in oak These bench is very well made, very light and nevertheless very solid, because although not restored there is no lack or broken bars.

A late 19th early 20th century Berlin K.P.M. Porcelain Plaque titled "Der Eremit" (The Hermit) After the painting by Salomon Koninck (Dutch, 1609-1659)...

Pair of very decorative Italian paintings, probably an old theatre set, from the 90s. Structure in old solid wood and linen canvas representing a vanity. S...

Solid wood with various inlays. Beautifully turned. This type of furniture was very popular in Europe in the 19th century.

- Newly upholstered in velvet fabric - Wooden legs have been refurbished - Height of seat 43 cm.   

These handmade carpet luxury rugs look beautiful and would stand out as dining room rugs or bedroom rugs as an interior design object. These washable rugs are one of a kind and canno...

Porcelain plaque painted with Mary Magdalene by K.P.M. German, circa 1900 Measures: Frame: Height 32.5cm, width 26.5cm, depth 3cm Plaque: Height 25.5cm, width 19cm, depth 0.5cm ...

Christening set in French sterling silver composed of 3 pieces: 1 cup, 1 fork, and 1 spoon. Very delicate model in the Louis XV style with a lovely chiseled decor of C-scrolls and foliage. Stamped with the French Minerve mark for sterling silver. Total Weight of the set: 150 g. Offering sterling silver items as a christening gift...

A very fine and impressive pair of gilt bronze and crystal wall sconces. Originally for gas, now electrified. High quality bronze work. Original gilding. Dimensions: H. 25", W. 28",...

A very fine and elegant Baroque style iron chandelier, France, circa 1900. Dimensions: Height 32" x Diameter 25" NI950.

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