Baroque Furniture

Exceptional Murano Glass Chandelier with Hand-Sculpted Floral Accents - A Rare Venetian Masterpiece. Presenting an extraordinary Murano glass chandelier, a testament to the unparall...

Tiffany Dutch Baroque Style tallcase clock, with gilt metal face and enameled Roman Numerals, marked "Tiffany" under clock face and labeled "Made Exclusively in Italy for Prelude Cr...

French baroque coffee table by Maurice HIRCH for Maison JANSEN, Paris, France, 1940s. Coffee table in black and gold lacquered wood with mirrored top. Baroque decoration and shape de...

A beautiful set of two antique andirons, decorative elements for the fireplace. These are made of gilded bronze, with beautiful figures of a boy and a girl reaching out to each other...

Rectangular antique occasional table, Circa 1900 France

An Italian walnut corner cabinet, molded cornice, over triangular case, upper and lower cupboard doors with contrasting marquetry panels, opening to reveal shelved interior, rising o...

17th century Italian walnut library table or writing desk. Desk features three drawers amongst beautifully floral carved apron. Legs are carved in an old style swirl-twist shape on b...

An antique table runner 17th century Italian voided velvet panels Finished with 19th century gold metallic braids and tassel trim Lovely time worn appeal with general signs of wea...

A pair of Italian Baroque ‘poltrone’ or armchairs. Probably from the Umbria region, 17th century and later. Solid walnut with upholstered seat and backrest and remnants of the origin...

A scarce Baroque period Spanish or Italian hand carved polychrome painted wood Santo sculpture with inset colored glass eyes, original white robe garb and later wood rosary. Intrica...

A finely rendered heraldic watercolor on paper depicting an elaborate composite coat of arms, signed lower right “E. Wenzel” and likely executed in the late 19th century. The work pr...

Pair of Italian Baroque (late 17th/18th Century ) polychromed & gilt-wood Solomonic columns with swirl design and heavily carved with putti & grape vines (PRICED AS Pair). Replaceme...

Console miniature in 925 silver with mirror and marble top, wooden details. This miniature was made in 925 silver with the fusion technique. The supports under the top depict three...

Meraviglioso Orologio a Pendolo in Legno Laccato Style barocco veneziano 700 provenienza villa reale lago maggiore produzione mice versailles anni 6...

A large and impressive painted and gilt mirror dating to the last quarter of the 18th Century. Green painted and having applied carved and gilt cartouche and floral mouldings the upp...

An important and richly carved Swedish armoire cabinet from the Baroque period with handsome bun feet. Provenance on the inside of the left door, dates the piece to 1772 (Anno 1772)....

French Baroque tapestry fragment depicting a scene from Greek mythology, Poseidon and Amphitrite, circa 1690. Attributed to Isaac Moillon, Pari...

A fine Italian garden seat or grotto stool of cast stone in the Baroque style - featuring a sculpture of a cherub or putti faun in a kneeling posit...

From Northern Spain, constructed of solid walnut, the rectangular top with molded edge atop a conforming case housing three drawers over three doors, the doors paneled with solid wal...

Antique cast iron French pastry style black scrolling "Butterfly" coffee table with marble top. Item features impressive cast iron construction, four "butterfly wing" legs, fancy scr...

Beautiful weathered oak panel depicting a baroque angel on an acanthus curl. Weathered and small losses, most likely it was once part of a larger panel. France circa 1750. treated ag...

Our “TOSCANO” Credenza - The Italian Art & Handcraft of Fine Antique Reproduction This rustic style handcrafted credenza features Old Poplar hardwoods, finely aged with distressed p...

The Enchanted World Night Creatures Time-Life Hardcover Book.Packed with more than 60 fl-cor, reusable, self-adhesive stickers featuring glow-in-the-dark effects, these books provide...

Beautiful antique blanket chest in solid walnut wood, 1650s. The antique blanket chest also completely original and has great charm. Internally equipp...

Vintage wooden storage box made of root wood veneer, the box has black wooden inlay and hazelnut decoration in relief, first half of the 20th century. Decorative object made of high...

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...

Belgium / 1900 / religious banners / fabric / Antique / Religious Two antique catholic altar cloths with embroidered doves and letters in a wreath. One banner with between 2 doves ...

C. Maratta went to Rome in 1636 and became an apprentice in the Studio of Andrea Sacchi. Pope Alexander VII commissioned many paintings from him. Maratta’s paintings of the later 165...

18th century Neapolitan Terracotta Santo Presepio Figure of Saint Anna Anonymous Naples, Italy; ca. 1760 Polychrome terracotta, wood, silk, gla...

A very fine Italian 18th century oil on canvas "Madonna and Child" after Giovanni Lanfranco (Italian, 1582-1647). The young Virgin Mary attending to...

The inkwell, rectangular in shape, was completely handmade obtained from a silver plate and finely embossed and chiseled with scrolls and flowers, typical of the Italian Baroque of t...

18th century Large chest of three drawers from late Baroque period in richly carved curvaceous serpentine drawer fronts, shaped top and on bun feet in super later patinated paint. La...

This Venetian Style Super King Size Bed was sourced from Italy, the bed exudes a sense of elegance and charm, perfect for those looking to add a touch of luxury to their bedroom. The...

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...

PiedistalIo Italiano di fine 1700, Basamento scolpito con teste di Putti laccate sul fronte, di forma sagomata, ideale come base porta sculture o porta vaso di gusto barocco. In buon...

"Italian Venetian shaped oval dressing table / vanity mirror features a glass scroll form frame with beaded borders and applied textured flowers pl...

Faithful copy of the writing service by the silversmith Pietro Rubini, Milan c.1775 The inkstand is composed of a shaped tray supported by 4 rocailles feet, modeled along the entire profile by finely embossed and chiselled volutes, leaves and shells. Above the tray are two ink holders and two pen holders with spiral workmanship and highly embossed vegetable decorations. A bell in the center of the object rests on a FASTIGIO pierced with flowering vines. By Fiorentini, Argenterie di Milano - Italy for ARVAL ARGENTI VALENZA Italian silverware...

Beautiful, classic frame gilded with gold leaf, entirely in the typical Baroque style, lavishly decorated with acanthus leaves, vines, flowers, and a dotted pattern all around. Made ...

Beautiful, partially gilded vintage pine frame with a lovely patina of age, entirely in classic Baroque style, decorated with acanthus leaves, flowers, and patterns, first half of th...

Beautiful, classic frame gilded with gold leaf, entirely in the typical Baroque style, elegantly decorated with acanthus leaves, vines, and flowers, made of pine and plaster, circa t...

Large, gilded vintage pine frame with beautiful age patina, XL size, entirely in classic Baroque style, decorated with elegant acanthus leaves and patterns, XL size, first half of th...

Beautiful baroque gilded metal procession cross with a great patina. France circa 1750. weathered and small losses. Measurements include the wooden pedestal.

Large, gilded vintage pine frame with beautiful age patina, entirely in classic Baroque style. XL size, decorated with acanthus leaves, flowers, and patterns, first half of the 20th ...

Large antique Baroque crucifix with stunning details and an amazing patina. Because of the quality in the detail or because of the perfect anatomy o...

Opulent Italian wrought iron Savonarola armchair made in the Baroque or campaign style. The chair features an iron frame with curule style legs and imposing patinated bronze mace fin...

Made in early 20th in Baroque style giltwood carved mirror, the shaped frame carved with floral motifs, leaves, flowers. Water gilding of polished and matte quality, with some bleedi...

Behold a rare and remarkable treasure from 17th century Spain: the vargueño. Crafted from solid one-inch thick walnut panels, this vargueño stands as a testament to the masterful cra...

This handsome baroque style oak library or refectory table with two drawers has heavy turned legs, scalloped skirt and lower stretcher. The top is all natural oak with nicks, cracks ...

Adolf Constantin Baumgartner Stoiloff (Austrian/Russian, 1850-1924) a fine oil on board "Charging Cossack 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...

Unique piece 18th century Spanish refectory table. Beautiful console. Impressive farm table with carved four sides. Completely restored. Height from the floor to the bottom : 55.5cm

Antique French Samson porcelain figurine, mid-late 19th century. Overglaze. In perfect condition. Measures 18 cm. X 7 cm. Four figures in the same series are on stock.

Intricately carved and rare late 18th Century carved wooded scroll, bearing the letters INRI - Iesus Nazarenus Rex Iudaeorum (Jesus of Nazareth, King of the Jews). A magnificent ...

18th Century Italian Painted Chest Or Commode. Stunning 18th century Italian painted commode or chest with gilt accents from the Tu...

This exquisite pair of vintage linen pillows showcases opulent 19th-century metallic and silk coat of arms appliqués. Each pillow features a rega...

Amazing gilded paper mache dove/ Holy spirit. Beautiful detailed. The Dove is a symbol for the Holy Spirit inspired by Jesus’s baptism. The dove has been used among many Christian de...

A period style Baroque early 18th Century baroque cupboard in dark patinated pine wood. The clean and useful interior is of a later date and features two drawers that can be used for...

Pair Baroque Style Erotic Prints of Compromised Monks & Nuns, Italy, 20th Century Prints,  This pair of vertical Italian Baroque-style erotic prints from the 20th century provides a...

Made in France, circa 1890, this table takes inspiration from the Spanish Fratino, a style of refectory table. It features a rectangular top with exciting texture and grain pattern, ...

Large gilded vintage pine frame with red velvet frame on the inside, completely in classic baroque style, decorated with acanthus leaves, flowers and patterns, first half of the 20th...

Exquisite restored chandeliers – timeless elegance and expert craftsmanship Lovingly and expertly restored in Berlin, these stunning chandeliers are true masterpieces. Every detail ...