Baroque Furniture

Large pair of 18th century Venetian silver gilt sconces. Monumental pair of Italian or Venetian silver Baroque gilt or silver leaf candle sconces from the 18th century. This outstanding pair of Venetian carved...

19th Century Italian Round Walnut Dining Table with Inlaid Starburst Motifs and Carved Pedestal Base A beautifully crafted 19th century Italian round dining table featuring intricat...

Discover a remarkable piece of history with this 18th-century Baroque armchair, meticulously preserved and dating back to 1750. Originating from Germany, this exquisite piece embodi...

An exceptional Wingback Chair with large curved wings and arm rests inside the framework trimmed in Bronze nail heads. The chair is in the French Baroque Regence Style, although it ...

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...

Charming delft dish demonstrating how exotic the East appeared to Europe and a sense of wonder it portrayed. Unusually painted in the 'Wanli' style demonstrating the mania in Europe...

A beautiful late 19th century French hand-carved Rococo console table with a Bianca Rosa marble top. This console table has an elegantly hand-carved skirt with a centered St Jacobs s...

Unusually small Hague clock made c. 1675 by Pieter Visbagh, who was apprenticed by Salomon Coster. The latter made the first pendulum clock according to th...

Important and beautiful Italian baroque mirror, handmade in golden wood with rich carved details. The mercury mirror is in very good conditions. The provenience is Venice (Venezia), ...

Rare and spectacular Murano " Stalactite" six light chandelier. Attributed to Barovier- Murano. Circa 1940.

Abraham Brueghel (1631 - 1690) Attribution - "Triumph of Flowers and Fruits in Plein Air" oil on canvas 95 x 130 cm without frame 100cm x 135cm with frame good conditions Abraham Br...

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...

17th century Italian vase mounted and encrusted with chalcedony rosettes on a petrified wood base. This fragment is from a church in Florence. It was found and saved from the historic Florence Flood of 1966. This was one of the worst floods recorded since the Renaissance and drew thousands of volunteers from all over the world to help save the city known for its precious history, artwork, artifacts, and rare books. The volunteers were called "the mud angels" because of the mud and silt left everything from the damage of the flood. There is still the original paint and silt left on the piece to uphold the integrity, craftmanship, and history of sculptural fragment. The chalcedony rosettes perfectly emulate the color and texture of the piece. The story and history of this piece and Interi's collection of Florence fragments...

18th century Portuguese Tiles Panel "Angel" 84cm x 56cm 24 tiles good conditions

A very Fine Italian carved and giltwood mirror, Tuscany mid-18th century. Cresting above a cartouche shaped engraved mirror depicting an Architectural scene, above a rectangular ...

- An amazing Baroque Period painting named "La Fille Grondé'' (Disobedient daughter) by the renowned painter Paul Emile Destouches (1794-1874). It depicts a family scene with the be...

Pair of Late 17th/Early 18th Century carved and polychrome Italian angel figures. Now mounted in modern stands. Wonderful baroque carving and retain original paint   

A pair of French 19th-20th century Baroque style carved walnut and needlepoint upholstered hall throne armchairs with raised carved armrests and fluted conjoint legs. The tapestries ...

Fabulous Italian bombe drop front secretary cabinet in olive wood with the matching chair. Bookcase top with Two drawers with brass hardware and exquisite cabriole legs. Expert craft...

18th century carved, painted and gilded Statue of a woman standing on a cloud. Sacral Art. Ca 1750 Sweden (possibly Northern Europe)

An exquisite Spanish Colonial 17th Century Taquillón, a piece that epitomizes the craftsmanship and artistic sensibility of the Spanish Baroque period. This beautifully carved chest,...

This interesting and decorative light fixture made in the great decades of silent films and the first motor cars shows many fine features. The iron is forged and worked in the fashio...

A beautiful 19th century Italian polychrome casapanca wood storage hall bench having a carved back with the hinged lid opening to reveal a storage well, raised on shaped bracket feet...

We are delighted to offer for sale this very rare finely carved Venetian Baroque style figural walnut throne settee or bench, attributed to Valentino Panciera Besarel (Venice, 1829-1902) in the manner of Andrea Brustolon...

Decorative rare Coffer / Blanket Chest. Covered with the Original Leather and beautiful, Decorative Wrought Iron Work. Fitted interior. Equally suited for storage or as side / small ...

Flemish casket-bin, 17th century In walnut wood and ebonized. Nine drawers with painted mirror fronts. 38 x 73.5 x 30 cm. good condition.

Marble top dining table, a wonderful piece that is sure to elevate any dining room. This table boasts a smooth and gleaming 40-inch round whit...

"Diane de Gabies" French sculpture, late 19th century. Patinated bronze with "Ferdinand Barbedienne" foundry marks. Height: 51 cm. Very goo...

Rare, unusual and decorative bench, decorated with numerous carved human and lion heads and lion finials. The bulbous turned legs and backrest connected by...

A more unusual model with a rectangular top with chamfered corners over a drawer and pair of doors. The interior with hidden compartments. Wood knobs and bracket feet. A very good ex...

Large Antique Bronze Letter bell weight or dumbell 1 lbs.

Large baroque style sterling silver vase. The body of the vase has been masterfully embossed with shells, flowers and volutes, typical of the Baroque style. Still in the body of the ...

Extraordinary long and narrow walnut table, with a massive one-plank top, over a frieze containing four drawers with typical wrought iron pulls, conforming carved decoration on all f...

Decorative ice bucket in red crystal in a Baroque style. The ice bucket is made of crystal. Produced by Artel in Czech Republic. It is a contemporary item.

Italian Gilt Gesso over carved wood Lion Paw Girandoles, 18th century mirrored frames with later light fittings, each with a triple lamp ho...

Bust of antinous carved on white Carrara marble early 20th century. Placed on a turned base in red Levanzo marble. Measures: 35 x 20 x 12cm. Perfect condition for the age.

This tall antique wood floor lamp was carved in Italy, circa 1890. The elegant light stands a scrolled tripartite pedestal base ending with scr...

Holy font in solid silver, hallmarked with 800 Holy font height 31 cm, width 19.5 cm, with rear shelf 38 x 28 cm The silver waterfont can get taken of easely...

Rustic Spanish 18th Century Chestnut Dining or Center Table of unusual proportions, the six-plank top with a molded edge supported by four-way splayed turned legs, joined by a wroug...

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...

On offer an 18thc Large Beautiful French Wood Sculpture of a Putto/ Angel Figure. There are losses, on fingers, feet etc. Please look closely at ...

18th Century Dutch harbour scene / seascape painting with ships in stormy waters by Jan Verbruggen (1712-1780). Signed 'J.Verbruggen'. Jan Verbruggen and his son Peter were artists,...

A rare set of 3 Brass Baroque repousse wall sconces Original late 17th/ early 18th century large detailed Repoussé back plates designed with high...

Armchair Swedish Baroque oak, Sweden. A single armchair made in Sweden during the early part of the Baroque period. Frame made of oak with an upholstered b...

The Pair of 19th Century Italian Baroque Style Wood Carved Consoles are a testament to the era's opulence and artistic mastery, boasting a stunning array of intricate details. Crafte...

Truly one of a kind pair of old handmade reclining lions. These are unsigned and used a mixture of clay and fiberglass fibers. They show very heavy signs of loss over the years b...

Fine pair 18th century Swedish late baroque chairs in their original finish with great patina and proportions. Ca 1850 Sweden.

A fine giltwood console table, the deep frieze carved with intricate fine scale ornament, the cartouche shaped apron centered with a rondel, surrounded by a diaper pattern, swags of ...

Unique 18th century cherrywood side chair from the period of emperor Joseph II. of Austria, the son of empress Maria Theresia, around 1790. Made of solid cherrywood, this decorative antique chair...

A rare pair of Flemish 18th century "Verre Églomisé" Reverse Glass Paintings, each depicting riverfront scenes with figures, fishermen castles, co...

TUSCAN ALPI 4-Door + 2-Drawer Credenza in solid Old Chestnut with Dolomiti finish, includes 2 adjustable, finished interior shelves, locks & keys, with hardware options. Our exclusiv...

Dutch School, 18th century. A deacquisition from the Museum of Fine Arts. With label affixed to underside of the chair. A very unique chair in the Baroque taste - featuring carve...

Mobile Oratory 19th century, in painted and gilded carved wood. Interior painted with two shelves. Dim.: 194 x 85 x 38 cm. Good condition.

A 19th Century Meissen Porcelain Plaque of 'The Banishment of Ishmael and Hager', in its Original Frame. This fantastic Meissen porcelain plaque depicts...

Casa Padrino Baroque Console Set, Hall Table with Mirror This is a very stylish pair they are finished in Blue and Bronze with an etched Venetian mirror and a marble table top, A ...

A cabinet in Baroque Style, probably produced in the late 18th century in the Northern parts of Sweden. The cabinet features richly carved decorative patterns in relief in the wood. ...

Plate, in Chinese porcelain for export, Imari. Polychrome decoration in blue, rouge de fer and gold, with a landscape with pagoda, flowers and trees. Qing Dynasty, Qianlong period (1...

Set of wonderful four 18th Century individually hand carved Italian Silver Gilt Alar sticks. The Altar sticks were traditional gilded more heavily to the side facing the front of the...

This exquisite 18th-century Italian chest of drawers is a remarkable example of rustic elegance and craftsmanship. Its original hand-painted decoration immediately draws the eye, sho...

Circle of CASPAR NETSCHER (1635/39-1684), ALLEGORY oil on canvas. Small antique restoration. Dimensions: 94.5x77.5 cm. good conditions Of German origin, according to Arnold Houbrake...