Baroque Furniture

A beautiful hand carved solid oak kitchen cabinet It has a recessed upper part for the display of plates and cups. The lower cabinet features a fixed shelf and the doors are decorated with geometric chip carving and rosettes. The cabinet has a rural appearance typical for this type of Spanish furniture. The cabinet has the original hand forged hinges...

Vintage Italian Baroque style carved wood dining chairs - Set of 6. Item features (2) arm chairs, (4) side chairs, beautiful wood grain, nicely carved details, cabriole legs, very ni...

This sofa with two armchairs was created by the artisans of the famous Cantù company, Silik, in the 1960s, in Venetian Baroque style, in velvet and embossed velvet, the structure is ...

A so-called Maria Theresa cabinet (furniture type named after the Austrian empress) or Baroque hall cabinet from the 18th century. On ball feet standing two-door coniferous corpus...

A late 18th century Italian walnut octagonal mirror. Apart from minor restorations this mirror is in pristine condition and can be hanged in two directions.

Very Rare Large 19th Century Gilt-Wood Hand-Carved Over-Mantel or Console Mirror. Finely Carved Detailed Shell And Foliage. Salvaged From An English Manor House. Unique Item And A Re...

Antique embroidered textile chasuble with floral decorative patterns in blue, yellow and pink, likely made in the 17th-18th century in Europe. The piece is framed and has marking on the back paper indicating it to be a gift from William Randolph Hearst...

Outstanding pair of 18th century Italian Baroque carved and paint decorated columns. finely carved and hand poly-chromed spiral motif. Measures: H.85" x D.12".   

A pair of wonderful English, antique pine steps with barley twist banisters, oak risers and fabulously turned oak rails.

Pair of columns of carved pine wood that present the twisted shaft in a helical way (Solomonic) and decorated with interlocks of birds, scrolls, leaves, fruits and birds intermingled and are topped by two Corinthian capitals (with the two levels of leaves under the scrolls more similar to those of oak than to acanthus). Although it was an element used in architecture before, the Solomon column is a more known and habitual piece in the Baroque, especially since its use by Bernini in the canopy of St. Peter's Vatican (completed in 1633). He soon arrived in Spain, being used in Andalusia for the first time circa 1639 and in Madrid in 1636, spreading throughout the peninsula and colonial territories since then. Normally, they were decorated with branches and grape clusters in slight relief. Although the presence of birds in this type of elements is not the most common, they can be seen in pieces such as the Solomonic column...

Each with a rectangular plate within a stiff leaf, entwined vine and fleur de lis carved surround, the cresting centred by an armorial shield for the Thorold baronets surmounted by a plummed helmet, flanked by trellis with flower-filled vase finials above scrolling vines and floral garlands, labelled to the reverse 'Proveniente della famiglia Dona dalle Rose,' with traces of original blue and white decoration; the mirrors originally conceived as picture frames. Provenance: The Thorold baronets, probably Sir Nathaniel Thorold, 1st Baronet (d.1764) The Dona dalle Rose family...

Venetian hand blown Opaline Murano six-light chandelier with vibrant pink and blue floral colors, crown canopy, centered bulbous column, scrolled arms with the original crown bobeche...

Very nice Parisian wardrobe called "lingère". Beautiful Louis XIV style walnut cabinet of the late 17th or early 18th century. This very beautiful wa...

18th century Italian giltwood mirror with hand carved eagle, roses, leaves and other details. The carving around outer perimeter of the mirror to really highlight the details. Appear...

Each one shows a lower part decorated in relief with vases joined by ribbons and a grooved shaft divided into two areas and has a composite capital. Although the motifs are of classi...

This remarkable Murano mirrored glass console with hand blown blue flowers is one of the most elegant and regal styles available. This extravagant console is a great size and would f...

Beautiful Baroque mahogany chest of drawers with four large drawers and bronze hardware, circa 1740-1750, Copenhagen Denmark.

An Italian walnut, parquetry bureau cabinet fruitwood inlaid with scrolling foliage, The upper section with a shaped carved cresting, a shaped doors opening to reveal three shelves, ...

This beautiful walnut granddaughter clock made in Spain is tall and slender and will fit in any corner location.

This charming 17th Century massive scale rectangular refectory table, dating back to Baroque period, is a magnificent example of Tuscan rustic craftsmanship. The top consists of four large solid warm brow walnut planks capped on either end with matching pieces of walnut wood slabs. The 3 meters long and 1 meter wide tabletop rests on a trestle base composed of six massive turned baluster legs joined by a simple molded stretcher running the distance on either side making the seat even more comfortable. The simple and clean line of the top is wonderfully harmonized by the roundness of the legs, all with exceptional wood grain and texture and rich, warm great original patina throughout. In typical Tuscan fashion, this farm table is long and narrow, featuring a very rustic but clever construction: two wooden pegs and thick joints on each side allow the top to easily separate from the base for easy transportation. This is "The Table" solid and sturdy a wonderful and warm piece, rich in history and rare. The four plank cleated detachable top is of superb color and figuring. This versatile antique refectory table can be used as a hall, dining or serving table. It has character and is simply stunning from every angle making a fabulous statement in any room both in your countryside home or in the most elegant setting. A number of early solid walnut pieces which we have sold have harmonized very well with modern interiors. Any kind of dinner service will be enhanced by the sobriety of this table that will stand up to no end of use. This rustic and lasting table can be free-standing or would be perfect also leaned on the wall as a huge console...

A beautiful 18th century Spanish baroque guard room /dining table in walnut with plank-top resting on carved H-form trestle legs and hand-forged iron stretchers forged in Toledo. Spa...

Mid-18th Century hand-carved 1750 Venetian Baroque walnut sofa, three-seat with armrests. Remarkable work by Venetian cabinetmakers. The 18th C...

Our new Cortina Library features rustic Old Fir with a unique patinated antique beige finish. Available to order in a variety of wood species and finish colors, and in custom size an...

18th c., possibly Spanish, solid oak table, wrought iron hardware, the rectangular three board plank top over two hinged panel doors opening to storage, raised on octagonal legs join...

Boxwood micro carving Deposition Central Europe, first half of the 18th century It measures: the sculpture 7.40 x 5.31 x 0.6 in (18.8 x 13.5 x 1.6 cm); w...

Adorable French late 19th-century golden wall mirror in the shape of the sun with convex mirror glass. The convex mirror gives a full view of the r...

Early 20th century Italian mahogany refectory table or library table constructed from mahogany. Features a thick solid 1.5 inch top with a lig...

Interesting continental hand-carved painting easel with gilt decoration. Lovely gilded carved- rosette decoration and graceful legs. small dowels adjust t hold different sizes of art...

A grey painted Baroque chest of drawers, curved front with three drawers, 18th century.

Beautiful Artempo coffee table made from 18th century oak. The top one solid heavy board of 17th century oak. Perfect patina. This is a mto article. After you have placed the order, we will contact you and select the antique wooden boards...

Tapestry from the Royal Manufacture of Aubusson, Louis XVI period , made in 1738 at the Gobelins One panel from a series of Gobelins tapestries depicting the History of Esther, illustrating Esther seated and attended by handmaidens, one washing her feet in golden basin, another fastening a bracelet, another offering a mirror, all observed by Mordecai, woven in the workshop of Michele Audran after a design by J. F. de Troy. The Toilet of Esther c.1778-85.Royal Collection Trust-Queens Audience Chamber Windsor Castle The Sketches for the Esther Cycle by Jean-François de Troy (1736) “and the maid was fair and beautiful; whom Mor’decai, ..., took for his own daughter.” (Est. 2:7) A supple and undulating genius, both a flattering portraitist and a prolix history painter, as well as a brilliant genre painter, in a gallant or worldly vein, Jean-François de Troy (Paris, 1679 – Rome, 1752), solicited, although he had passed the threshold of old age, a new royal commission up to his ambitions. To obtain it, he submitted – successfully - for the approval of the Bâtiments du roi (administration), seven modelli painted in 1736 with his usual alacrity. Inspired by one of the most novelistic texts of the Old Testament, the Book of Esther, these sketches in a rapid and virtuoso manner were transformed by the artist, between 1737 and 1740 into large cartoons intended to serve as models for the weavers of the Gobelins factory. Showing undeniable ease and skill in the composition in perfect harmony with the sensitivities of the times, the tapestry set met with great success. The Story of Esther perfectly corresponded to the plan of the Bâtiments du roi to renew the repertoire of tapestry models used for the weavers of the royal factories while it also conformed to the tastes of Louis XV’s subjects for a fantastical Orient, the set for a dramatic tale in which splendour, love and death were combined. Indeed, no tapestry set was woven in France during the 18th century as often as that of Esther. The series of modelli painted by de Troy during the year 1736 looks to the history of French painting and decoration under Louis XV as much as it does the history of the Gobelins. It probably counts among the most important rococo pictorial groups to have remained in private hands. First the Biblical source illustrated by De Troy which constitutes the base of one of the richest iconographical traditions of Western art will be considered. Then the circumstances and specific character of French civilisation during the reigns of Louis XIV and Louis XV which contributed to making the theme of Esther a relevant subject, both attractive to contemporaries and remarkably in line with the sensitivities of the time will be elucidated. An examination of the exceptional series of sketches united here, the cartoons and the tapestries that they anticipate as well as a study of their reception will close this essay. The Book of Esther: A scriptural source at the source of rich iconography. The origin of the Esther tapestry set by Jean-François de Troy – origin and creation of a masterpiece According to the evidence of one of the artist’s early biographers, the chevalier de Valory, author of a posthumous elegy of the master, read at the Académie royale de peinture et de sculpture on 6 February 1762, it was apparently due to early16 rivalry with François Lemoyne (1688-1737), his younger colleague who had precisely just been appointed First Painter to the King in 1736, that had encouraged François de Troy to seek a commission allowing him to show off his ease and his promptitude at the expense of a rival who was notoriously laborious: “M. De Troy, retaining some resentment of the kind of disadvantage which he believed to have suffered compared with his emulator looked to regain some territory by making use of the facility his rival did not possess. Lemoyne was excessively long in the creation of his works,and M. De Troy of a rare celerity: consequently, with this particular talent, the latter offered to the court to make paintings appropriate to be executed at the Gobelins Factory; and it is to this circumstance that we owe the beautiful series of the Story of Esther, which would be sufficient alone to give him a great reputation.”17 Beyond the suspicion inspired by the topos, which still constitutes, more or less, a tale of rivalries between artists in ancient literature, there is probably some truth in what Valory reports although A.-J. Dezalier d’Argenville (who indicates rather spitefully that de Troy did not hesitate to “cut prices” to impose himself, benefitting from the productivity assured by the unlikely rapidity of his brush)18 proves to be more evasive: “As he looked to busy himself, he had offered to make the paintings that serve as models for the King’s tapestries cheaply: which did not please his colleagues. He was given a choice of two tapestry series to be made and he took the Story of Esther and that of Jason”.19 Whether or not the choice was actually left to de Troy (which would appear rather casual on the royal administration’s part all the same), it seems likely that the artist, whose contemporaries extol his “fire”, as the faculty of invention was then called, must have ardently aspired to the possibility of using on a very large scale the “creative genius” with which Dezallier d’Argenville credits him. The decoration of the private apartments, the fashion for which Louis XV had promoted at Versailles and Fontainebleau, offered little opportunity to excel in this area. Other than painting for altarpieces, only tapestries could allow comparison with Lemoyne who had been granted – unfortunately for him – a major decoration: the enormous ceiling of the Hercules Room at Versailles. Favoured by the recent improvement in France’s financial situation, the revival of patronage offered de Troy a commission fitting for him, in a field in which, however, he had hardly any experience. Anxious to renew the repertoire of models available to the Gobelins factory, the Duc d’Antin, surintendant des Bâtiments du roi from 1708 to 1736 followed by his successor, Philibert Orry comte de Vignory, gave him the task of producing seven large cartoons inspired by the Book of Esther corresponding to the brilliant sketches or modelli which de Troy had produced in one go, or almost (very few preparatory drawings can in fact be linked to the Esther cycle and all seem to be at the execution stage of the cartoons).20 Subjected to the approval of the Administration des Bâtiments according to the procedure in use for projects being planned for the Gobelins, sketches made rapidly during 1736 were approved and the project launched immediately. Thereupon came the news of François Lemoyne’s death, who, ground down by work and a victim of his private torment, committed suicide on 4 June 1737. Against all expectations, de Troy did not replace his rival in the position of First Painter (which remained vacant until the appointment of Charles Coypel in January 1747), which would perhaps have made him too obviously the beneficiary of the drama. The awarding of the position of Director of the French Academy in Rome came to console him while he had already produced (or he was in the process of finishing), in Paris, three of the seven cartoons of the cycle (The Fainting of Esther finished in 1737 and the Toilet and Coronation of Esther, both finished in 1738). De Troy, we can see, did not follow the order of the narrative but began with the subjects which apparently offered the least difficulty because he had already depicted them, or because they fall into a strong pictorial tradition (such is the case especially for the Fainting of Esther). He had hardly settled at the Palazzo Mancini in August 1738, when his first task which awaited the new director of the French Academy naturally consisted of honouring the royal commission and finishing without delay the final cartoons of the Story of Esther after the sketches he must have taken with him. As prompt as ever, de Troy discharged himself of the execution of the four remaining cartoons in only two years, by beginning with the largest format which allowed him to strike the imagination and to impose himself as soon as he arrived on the Roman stage: the Triumph of Mor’decai which was finished in 1739 (like Esther’s Banquet). The following year, the Mor’decai's Disdain and The Sentencing of Haman were brought to an end in the same Neo-Venetian style, obviously tributary to Veronese with its choice of “open” monumental architecture which is characteristic of the entire cycle.21 The series, it should be noted, was almost augmented with some additional scenes in the mid 1740s. Indeed, the first tapestry set finished at the Gobelins in 1744 proved to be unsuitable for the arrangement of the Dauphine’s apartments at Versailles for which it had been intended to decorate the walls the following year (cf infra). Informed of this, de Troy, considering that the story of Esther offered “several good subjects,” immediately offered to illustrate one or new subject among those “which could appear to be the most interesting”. The directeur des Bâtiments Orry, who managed the State’s accounts, obviously judged it less costly to have one of the tapestries widened to fill in the end of the Dauphine’s bedroom,22 which has probably deprived us of very original compositions, because de Troy had already illustrated the most famous themes, those that benefitted from a strongly established iconographical tradition and from which it was not easy to deviate The Tapestry Set of the Story of Esther Placed on the tapestry looms of the Gobelins at the end of the 1730s in Michel Audran’s workshop, the cycle created by de Troy aroused true infatuation. The few hundred tapestries made between 1738 and 1797 – all in high-warp tapestry and woven in wool and silk except for four in low-warp made in Neilson’s workshop – show the impressive success of a tapestry set that was without any doubt the most frequently woven of the 18th century in France. 29 Only three cartoons had been delivered by de Troy in 1738 when the first tapestry set was begun by Audran under the expert eye of Jean-Baptiste Oudry to whom the Directeur général des bâtiments, Philibert Orry had assigned the (weekly) supervision of the weaving. During the summer of 1738, the piece of the Fainting of Esther, which Oudry judged to be admirable, was finished. During the winter of 1742, Oudry informed Orry that about two ells of the Triumph of Mor’decai had been made “with no faults”,that the Coronation of Esther was finished and that the Esther at her Toilet “a very gracious tapestry” was “a little over half” finished. Exhibited at Versailles in 1743, these two last pieces were admired by Louis XV and the Court. On 3 December 1744, the set of seven tapestries was finally delivered to the Garde Meuble. It was intended, the honour was not slight, to decorate the apartments of the Infanta Maria Teresa Rafaela of Spain whose marriage to the young Dauphin Louis-Ferdinand had been fixed for the following year (it took place on 23 February 1745). Apparently it was thought that the theme of Esther the biblical heroine and wife of a foreign sovereign was appropriate for the apartments of the Spanish Dauphine. As early as the month of March, the architect Ange-Jacques Gabriel informed de Troy that her grand cabinet was decorated with the “Esther tapestry set” specifying however that “for lack of two small or one large piece, we have not been able to decorate the end of the room”. This difficulty led immediately to the Banquet episode being woven a second time in two parts (they were delivered to the Garde-Meuble on 30 December 1746) to garnish the panels on each side of the bed of the Dauphine who would hardly enjoy them (she died on 22 July 1746 and the decoration was installed for the new Dauphine Maria Josepha of Saxony). The appearance of the set’s remarkable border, which imitated a richly sculpted wooden frame, should be mentioned. Conceived in 1738 by the ornamentalist Pierre Josse-Perrot and used in the later weavings until 1768, it tended to reinforce the resolutely painterly appearance of the tapestry set which, in this regard, pushed the art of tapestry as far as its ultimate mimetic possibilities. With the exception of Mor’decai's Disdain which had been removed earlier, the “editio princeps” of the story of Esther (from then on in nine pieces) remained at Versailles until the Revolution. Of the eight surviving tapestries, four are at the chateau of Compiègne and four belong today to the Mobilier National. No less than seven tapestry sets reputed to be complete (one of them in fact only had six tapestries) would be produced officially at the Gobelins up to 1772. Literature: 1- The Œuvres mêlées of an emulator of Racine, the Abbé Augustin NADAL thus include an Esther. Divertissement spiritual which is exactly contemporary with Jean François de Troy’s cycle since it was performed in 1735 and published in Paris three years later. 2-Le Siècle de Louis XIV, 1751, 1785 ed., p. 96-97 for French ed. 3- Lemoyne and de Troy had been obliged to share the First Prize in the competition organised in 1727 between the most prominent history painters of the Académie Royale. 4- Mémoires…, pub. L. DUSSIEUX et al., 1854, II, p.265. 5-The fact that de Troy, at the risk of falling out with his colleagues, did not hesitate to make use of prices in order to convince the new directeur des Bâtiments Philibert Orry, is confirmed by Mariette who adds tersely “it caused much shouting” (pub. 1851-1860, II, p. 103). 6- Abrégé de la vie des plus fameux peintres…, ed. 1762, IV, p. 368-369 20 Early comments on the painter are inclined to present him as a kind of “pure painter”, doing without the medium of drawing, a few intermediary studies between the Esther sketches and the large cartoons at the Louvre nevertheless show that de Troy used red chalk (see in the catalogue, the notice for the Meal of Esther and Ahasuerus under the entry drawing) to change one or other figure. 7-C. GASTINEL-COURAL (cat. exp. PARIS, 1985, p. 9-13) as well as the article by J. VITTET, exh. cat. LA ROCHE-GUYON, 2001, p. 51-55. 8-The Hermitage in St. Petersburg conserves five tapestries of these two royal gifts whose provenance still awaits elucidation (as far as we are aware). In 1766, the Grand Marshal of Russia, Count Razumovski (or Razamowski), acquired the Fainting and the Banquet extracted from the sixth weaving (J. VITTET, 2001, p. 53). 9- Lettres écrites de Suisse, d’Italie…,quoted by J. VITTET, op. cit., p. 54. 10-The tapestry set remained in the hands of a branch of the Hapsburg-Lorraine family until 1933 (ibid. P. 54). 11-Quoted by Chr. LERIBAULT, 2002, p. 97, note 269. 12-Y. CANTAREL-BESSON, 1992, p. 241. Catalogue The Esther at her Toilet Oil on canvas, 57 x 51 cm Provenance: Painted in 1736 at the same time as the six other modelli of the Story of Esther intended to be presented, for approval, to the direction des Bâtiments du Roi; perhaps identifiable among a lot of sketches by Jean-François de Troy in the post mortem inventory of the amateur, historian and critic Claude-Henri Watelet (1718-1786) drawn up on 13 January 1786 and following days (A.N. T 978, n° 30) then in the sale of the property of the deceased, Paris, 12 June 1786, n° 33; Paris, François Marcille Collection (who owned a series of six sketches from which the Triumph of Mor’decai was missing, see infra); Paris, Marcille Sale, Hôtel Drouot, 12-13 January 1857, n° 36; Asnières, Mme de Chavanne de Palmassy ( ?) collection; Paris, Galerie Cailleux; Paris, Humbert de Wendel collection (acquired from the Galerie Cailleux in 1928); by inheritance in the same family; Paris, Sotheby’s, 23 June 2011, n° 61. In order not to add unnecessarily to the technical commentary on each work, the catalogue raisonné by Chr. Leribault which contains a substantial bibliography on the series should be referred to. The other bibliographical references only concern the publications and exhibitions to have appeared and been presented more recently. Bibliography and Exhibitions: Chr. LERIBAULT, 2002, n° P. 247 (repr.); E. LIMARDO DATURI, 2004, p. 28; Exh. cat. NANTES, 2011, p. 138, n° 34, referred to in note 1; Sotheby’s catalogue, Tableaux anciens et du XIXe siècle, 23 June 2011, n° 61 (repr.). Related Works: Tapestry cartoon: The cartoon (oil on canvas, 329 x 320 cm), the third made by the artist in Paris after the sketches had been approved by the direction des Bâtiments, is in the Louvre (Inv. 8315). It previously bore the painter’s signature and the date 1738 (inscriptions which are found on the tapestries). The royal administration paid 1600 livres for it on 21 June 1738 and it was exhibited at the Salon in the year of its creation. Summary Biography 1679 (27 January): Baptism in Paris (Parish of St. Nicolas du Chardonnet) of Jean-François de Troy, son of the painter François de Troy and Jeanne Cotelle, sister of the painter Jean II Cotelle. 1696-1698: Studies (apparently rather turbulent) at the Académie royale de peinture et de sculpture. 1698-1708: First trip to Italy. Is obliged to leave Rome in January 1711 after a tempestuous affair (a duel?), de Troy extends the traditional Roman experience as a pensionnaire at the Académie de France by also visiting Tuscany where he stays for a long time, Venice (his art in face has a strongly Venetian character) and Genoa. 1708: De Troy (whose father had been elected Director of the Académie royale de peinture et de sculpture on 7 July) is agréé and immediately received at the Académie with Apollo and Diana Piercing with their Arrows the Children of Niobe (Montpellier, Musée Fabre) on 28 July. 1710: First royal commission, paid for on 10 May (a sketch representing “the Promotion of the Order of the Holy Spirit” for the tapestry series of the History of the King). 1716: Jean-François de Troy is elected Assistant Professor at the Academy. 1720: He is appointed Professor. 1723: The artist creates the double portrait of Louis XV...

Adolf Constantin Baumgartner Stoiloff (Austrian/Russian, 1850-1924) a fine oil on board "Charging Warriors on Horseback" within an ornate giltwood frame, circa 1890 Born in 1850 in Linz (Austria) Stoiloff died in Vienna in 1924. According to a research of Russian literature, he studied in the 1880s at St. Petersburg Imperial Academy of Fine Arts. He was very well known for his Russian horse...

Stunning antique mirror with gilded frame. Mirror with carved frame. Good condition, ready for use.

Beautiful baroque seating set consisting of a sofa and two armchairs. Extraordinary workmanship of the woods made according to the canons of the ti...

Antique hand-carved church decoration from the end of the 18th century in the Baroque Style Wonderful solid object made from oak wood Beautiful old wooden patina - very decorative ...

Featuring a layered linear design woven with floral and geometric patterns in harmonious colorways including red, blue, pink and beige. Suitable for use in any doorway in your traditional or modern home. This semicircle entranceway doormat has been refurbished from a handmade vintage rug- cut from large area rugs to create these small doormats, with handwoven fringe detail. Handspun cotton and wool have been used in the construction of these mats, they are handwoven and so hard wearing perfect for use as a dust barrier in any doorway. Vintage Oriental rug door mat- handmade carpet refurbished rug mat- entrance mat...

17th Century Italian ebonised pearwood mirror with carved ripple moulding. The rectangular plate within a cushion frame of convex and carved ripple moulding with inner eared corner...

This pair of French stone sculptures from the early 20th century features two Médicis vases with gadroon decor on a square base. This exquisite pair of early 20th-century French ston...

a heavy oak refectory table with stretcher base, it has a triple plank top, turned baluster legs support the apron of the table, these sorts of tables were used as communal dining tables...

Vollplastisch geschnitzte Heiligenfigur des frühen 17. Jahrhunderts, polychrome originale Farbfassung. Höhe 83cm, Farbe bereichsweise stark blättrig bzw. fehlend. Ausdrucksstarker G...

In this listing you will find an extremely attractive antique French wall mirror with unique shape and hand carved gilt wood frame with rich floral ornaments. Made in France in the e...

This monumental piece of furniture, of Veneto-Alto Veneto provenance, made entirely of lacquered fir wood. Full seventeenth century (ca. 1650) is presented as an imposing double-bodi...

Large figure standing with a book under his arm with hand extended.

Unusual 18th century Swedish Baroque centre table in it's original colour. Ca 1750 Sweden.

Display cabinet in Dutch Baroque style Light mahogany and maple on solid wood. Exceptionally rich intarsia. Work on carved paw-feet. Multiple curved border above bowed four-drawered...

A period Rococo cabinet with decorative carved pediment. Two doors with carved decorative detailing open to shelved storage, and below, two short and two long drawers. This piece is ...

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...

From Spain, constructed of solid walnut, the rectangular top without edge top, conforming case housing two carved drawers with two doors paneled with solid walnut, raised on a plinth...

Large-scale Italianate sofa by Marge Carson, upholstered in velvet. Custom-made pillows are included, as shown, except for the front center pillow, whi...

Late 17th century Italian Baroque lintel carved in triangular shape with acanthus scrolls, centered by a winged cherub face. Polychrome painted. Superb Italian craftsmanship. Previously refinished. Currently mounted to an upholstered headboard panel; could be remounted professionally to another substrate. Carved lintel...

Art Deco tall Italian animal Figurine Ceramic Parrot Macaw on a tree trunk Material: porcelain, ceramic, tin glazed Design: Cacciapuoti style...

Very rare pair of baroque pews from Tuscany, purchased thru a reputable dealer they were from a private church from an estate , they were 2 pairs and I kept one pair and used them i...

Italian Baroque style walnut demi lune console table from the 18th century, with semi-circular top, carved legs and cross stretcher. this Baroque table or console is in excellent...

Exquisite Spanish trestle table from Spain, in Walnut wood, with wrought iron fasteners and beautifully patinaed top . Baroque style lira leg table, entirely made of walnut, with car...

A handsome, hand carved, walnut buffet from Tuscany featuring 4 drawers, 2 doors and an interior shelf. Raised panel doors. Original hardware including a key.

Large framed oil on canvas representing Rebecca at the Well: among all the women who came to the well, the young woman in the center of the composition, gives water barely drawn to E...

An amazing oversized lounge chair by Tomlinson, upholstered in a pinkish-red damask fabric. The custom-made pillows are included, as shown. The pillow's intricate trim work showcases...

Continental baroque style oak trunk, circa early 19th century. With a single board rectangular overhanging top with molded front and side edges, the front with a central carved panel...