Baroque Furniture

Early 20th Spanish Full Double Bronze Bed with bars and wheels

A Pair of French Baroque Walnut Armchairs Provincial Fauteuils à la Reine with Needlework Aubusson style upholestry. A pair of French provincial,...

Place this elegant antique coffer at the foot of a king size bed. Crafted in Italy, circa 1680, the rectangular trunk stands on bracket feet. Heavily carved on all three sides with a...

19th Century baroque bed, original Spanish bed. This queen size 4-poster bed is hand carved with elaborate details, fluted turned post, 3D open spiral twist...

This Bargueno is a portable desk. The base is typically a Spanish table and dates from 19th Century. The upper part was added in the 20th century in England and dates from the Arts a...

Antique baroque style oak chest of drawers, 19th century. With an overhanging scalloped edge top, three shaped drawers with brass hardware, on scroll shaped feet.

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...

19th Century Portuguesh Pair of Side Chairs.

Beautiful workmanship distinguishes this lovely French Writing Table which is both bold and diminutive. The triple sectioned top as well as all of the drawers and back panels feature...

Pitcher ‘cantaros’ from Calanda, Aragon-Zaragoza area of Spain. A rare piece from a Private collection, circa 1750. Other examples can be seen in the Museo de Zaragoza. With gorgeou...

This late 17th century Franco-Flemish verdure tapestry, signed RAET, worked in fresh colors, depicting animals in a wooded river landscape with a bird of prey attacking a rabbit in t...

17th C. Sheet Music "Feria vi. Paschae" (page 191 and 192) Excellent example of Latin sheet music for Catholic church services. Bold red title and notations, with red staff lines. N...

Stunning Italian wrought iron and black marble dining table featuring a scrolled iron base constructed from 2" wide flat bars. Conjoined wit...

Period Danish Black Painted Gustavian Style Writing Desk Secretary. Refinished in painted black with pull down desk area and multiple drawers that vary in size. The brass hardware el...

Antique French Tapestry Exotic Flowers Animals Rare Black Verdure 3x6 92cm x 168cm A magnificent antique French tapestry depicting a scene of verdure. This is an easy, chic addition...

Late 17th century Italian walnut dining table or console with thick single plank top. Hand-carved with mortise and tenon...

French "Francis 1st pattern" 1920s sterling silver flatware dinner service set for 18 with a rococo floral design in a mahogany case. 250 pieces. (REED & B...

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 Ma...

partially composed of antique elements, the wood is a thick ebonized oak, having vertical planks at the front with large iron strap hinges, the door opening to reveal a shelved inter...

Matteo Lovatti (Italian, 1861-1909) A Fine 19th-Century Oil on Canvas Titled 'Church V. State - The Fencing Lesson'. The finely detailed artwork depicting an interior tavern scene, f...

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

A stunning pair of Italian Florentine baroque rococo style wall mirrors Italy, Circa 1960s Gold gilt wood, with mirror. Measures: 7.25"W x 1.25"D x 12"H. Very good original vinta...

Beautiful pair of walnut Italian Bombe Chests. Chests feature a shaped top with a curved bombe shape adding a sense of elegance and fluidity. Chests contain four drawers with parquet...

On offer on this occasion is one of the most stunning cabinet you could hope to find. This is an ultra-rare opportunity to acquire what is, unequivocally, the best of the best, it b...

Antique German Baroque Armoire or Cabinet with two doors built in the mid-1700’s, based on the hardware and construction. The Antique Armoire is...

Our "Amalfi" 3-drawer Mediterranean-style writing desk; simple sophisticated charm presented in fine Italian handcraft. Elegant yet casual. A stylized refectory table featured in age...

Antique brass and metal mesh fireplace / hearth screen featuring three arch topped folding panels, round finials, and squared off handles. The central pa...

This French antique passmenterie is created, circa 1800. A round netted top is connected with a thick twisted metallic gold bullion rope. This was used as...

A Mid-18th Century, antique conductor’s music stand from Brienz, Switzerland, in good condition. It is intricately carved of Limewood and richly decorated, typical for the Baroque pe...

Sourced from northern Spain, constructed of solid walnut, the rectangular top with molded rim above a box housing three doors, the doors faced with solid walnut and raised on a plint...

Fine, rare and impressive 18th century brass chandelier with three tiers of eight scroll arms, for a total of 24 arms, all with original...

Pair of 18th C. tapestry panels featuring intricate and richly detailed designs. They display classical motifs, including large architectural elements resembling columns adorned wit...

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

These are beautiful, small and elegant pendant. Each fixture takes a single candelabra bulb shielded by 2 opposing shells. These work well as a single or hung in clusters. They are p...

Well carved architectural water gilt fragments , Italian , probably overdoor fragments . Pretty bleeding of red base coat thru the lemon toned gilding . An "overdoor" (or "Suprapor...

This striking mirror is a bespoke creation crafted using 19th-century elements, showcasing exceptional European craftsmanship and decorative opulence. The top features an elaborate h...

This striking oak secretary is an elegant statement piece crowned with a curved bonnet. Note the heavily carved panel doors and the large curvaceous lower three serpentine drawers. T...

A richly carved walnut Italian throne chair. This arm chair could make a wonderful statement in any room. Use it for a desk chair, next to a fireplace, an office or in the living roo...

These are Fortuny textile pillows featuring a luxurious damask pattern in a muted gold and cream color scheme. The fabric showcases Fortuny’s signature intricate design, with elabora...

A captivating fusion of classic European Baroque design and contemporary elegance. Crafted with precision from exquisite mahogany and finished in our rich Cambrigde finish, this acce...

This striking 19th century Italian altar stick is a finely carved example of Baroque-inspired ecclesiastical art, rendered in richly gilded wood. Standing on a tripartite base with e...

A good antique French baroque carved walnut credence cabinet on stand, circa 1650. The two part cabinet comprising a two door cabinet on stand, the top having a carved & stepped crown, below are a pair of cupboard doors the rectangular panels in relief and carved with a lozenge design to the center, these panels are repeated on the sides. The doors are flanked with a pair of carved winged cherub masks with a carved foliate panel below, a corresponding carved panel is between the doors. The rear of the doors are covered with a mustard colored fabric and can be easily removed, the doors have the original hand cut steel lock and key and the doors enclose a single shelf. The cabinet dates circa 1650 the stand below is from the mid 19th century, circa 1850, the stand having a single drawer carved with a saints head to the center & a carved frieze with arches containing carved acanthus leaf. The stand is raised on two pairs of tall 'Barley Twist' columns to the front, below is a stepped storage...

An antique Portuguese Baroque architectural wall frame made of partly gilded Pinewood, in good condition. The tall, surround is particularized by ...

A very fine Italian 17th century oval oil on canvas "Head of Christ Crowned with Thorns" Circle of Pierre Mignard (French, 1612-1695) within...

Styled in the lavish Baroque manner, this highly collectible pattern is a best seller. Introduced in 1941, it captures classic symbols of the Renaissance in the exquisitely carved pillar and acanthus leaf curved as in nature. The sculptural, hand-wrought quality is evident in the playful open work and intricate, three-dimensional detail, which carries to the functional bowls and tines, and is apparent whether viewed in front, back, or profile. Perfect for traditional and formal settings. Dinner size Golden Grande Baroque...

Early 20th century carved Spanish console with two drawers. This table with character is of rare narrow depth. It is characteristic of Spanish Baroque furniture with a thick one-piec...

Antique pair of figural heavily carved walnut sgabello chairs. Winged figures and baroque designs. The sgabello is a type of chair or stool with carved...

Vintage Italian Florentine neoclassical midcentury patinated nesting tables- set of three 1960s Lovely graphics ornate figural design scalloped trim. Original preowned unrestored...

This exquisite two-toned caramel and raspberry pink colored Murano glass chandelier showcases a mastery of Murano glass craftsmanship. Featuring a bulbous center column with sproutin...

Signed by Mariano Garcia. Early 20th century, antique vanity or entrance console, available entry mirror on a hand carved walnut frame, with a gold leaf surface finish. Venetian Baro...

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...

Its Venetian white oak frame with antique gold leaf accents exudes timeless sophistication. The baroque-inspired silhouette, with graceful curves and subtle points, balances vintage ...

Beautiful walnut bookcase piece that can be used as a desk or work table. Made of robust walnut wood. All its legs and stretcher are Solomonic and it has a drawer with its wooden han...

A late 18th century Italian armoire cabinet in the Baroque style with handsome, elongated bun feet. Circa 1780. This cabinet has been han...

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...

A pair of 18th Century Scene Painted Screens with very good color and excellent form. All with scenes with men in capes and plumed hats, some on h...

18th First Edition of "New Art of Cooking" in Spanish with skin flap. Traditional recipes of Spanish gastronomy

Styled in the lavish Baroque manner, this highly collectible pattern is our best seller. Introduced in 1941, it captures classic symbols of the Renaissance in the exquisitely carved ...