Baroque Furniture

Danish 18th Century brass and wood nutcracker.

Very early Italian School Madonna and Child, Italian Baroque oil on board painting. Professionally restored. The careful removal of accumulated dirt and age-related damage, followed ...

Beautiful reproduction Vermeer painting in a gilt frame. This piece is oil on canvas. Canvas is secured to a wood frame with nails. Craquelure throug...

Circa 1900-1925 Pair of English Wrought Iron Garden or Driveway Gates. With operable latch & mounts. The light baroque design features multiple S & C scroll motifs. Fine estate condi...

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...

Place this elegant antique coffer at the foot of a king size bed. Crafted in Italy, circa 1880, the rectangular trunk stands on bracket feet. Heavily carved on all three sides with a...

A large antiqued reproduction oil painting after Anthony Van Dyck. Aptly titled "The Three Ages of Man" Features an antiqued canvas with unique craquelure and Baroque scalloped fra...

A magnificent Baroque commode with serpentine front in burled walnut with embossed gilding. Chest is raised on a carved plinth that rests on cabriole feet, and features four drawers ...

Side table or nightstand made of walnut with turned legs and heavy top. Two functional drawers that works perfectly

An ornate and richly detailed Baroque-style console table, hand-carved in wood with elaborate scrolling motifs and floral embellishments. This dramatic piece features a shaped top wi...

Dutch secretary desk, Netherlands, around 1800. This elegantly curved secretary desk has three spacious drawers in the lower part. The writing flap ...

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...

A fine antique Dutch Delft pottery tile. Depicting a cupid or angel in profile. Simply a wonderful antique tile! Date: 18th Century Overall Condition: It is in overall fair, as-...

Original oil on canvas painted panels form this impressive baroque style folding screen from the early 1900's. A city street scene with horse drawn carriage and lady walking along si...

A remarkable one-of-a-kind authentic antique Spanish Colonial era Baroque period carved walnut refectory table with warm rustic distressed patina! circa 1725 Handcrafted in the firs...

Italian Venetian Grotto (19th cent.) silver gilt rocker with carved seashell seat & back and seahorse sides (att: Pauly et Cie, Venice)

A circa 1690 Italian maiolica shallow tazza of Savona manufacture having elaborately molded and pierced rim with reserves decorated allover in hand-painted underglaze blue florals an...

This is a gorgeous antique late 17th Century French Aubusson historical tapestry depicting a beautiful and rich summer scene of a countryside with lush trees and vegetation, with a m...

18th Century Italian Bookcase with Glass Doors 18th Century Italian Painted And Gilt Bookcase. This 18th century Italian bookcase is painted and parcel gilt and has 3 glass cabinet doors above for display, 3 drawers below and 3 wood cabinet doors at the bottom for storage. The paint decoration on this outstanding Tuscan bookcase...

A whimsical fantasy hand carved chair by the great Venetian craftsman of the era. This lovely piece features an unique seahorse carved back and scallop shell seat retaining much of i...

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 very substantial hand-carved and gilded chandelier with wonderful wax candle sleeves and great balanced form.

19th Century Italian Baroque Style Giltwood Mirror. Our outstanding antique Italian Baroque style gilt wood beveled mirror retains the original mercury mirror and really makes a stat...

Italian carved wood painted trestle dining table with leaves. The table has a vintage, weathered look. It is made of wood with a large rectangular top. The table has a trestle-sty...

Pair of 19th C. Italian Baroque style candlesticks that feature eleborate scrollwork, floral motifs, and a multi-tiered structure. Each candlestick has a wide, decorative base with ...

This Spanish Fratino console table from the mid-19th century features a rectangular top with beautiful patina over a baroque style trestle base. Two lyre-shaped legs are connected to one another as well as the table top via a beautifully carved cross stretcher. There is a perfect balance between the simplicity of the top and the rich carving of the base. Placed against a wall in a living room, library, or foyer, this Spanish lyre legs console table...

Italian, Majolica, Modern, Palatial Jardinière or Planter, Outdoor, Italy, 1930s An enormous terracotta and porcelain oversized Jardiniere or Planter of vibrant colorful design. The...

Antique 17th century crewel work English pillow. Empire style.

Spectacular Palatial 19th Century Italian carved gilt leafed mirror. The scale of the mirror with the Exquisitely carved Floral swags and birds in Florentine gold with the red bleed...

Transport yourself to the opulent elegance of 17th century Northern Italy with this exquisite pair of walnut demi-lune console tables. These remarkable pieces embody the defining cha...

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

19th Century Spanish Baroque ebonized side or working table with wood stretcher and top in walnut. We have a matching smaller coffee table, you can see it in the last picture.

Fine 18th century Swedish late Baroque cabinet in Its original finish with traces of newer historical colours. Ca 1750 Sweden. Originally beige/yellow, then painted red and finally...

Large 18th Century Dutch Chinoiserie Leather Screen. Screen has five panels painted with flowers in urns with nail head trim on wooden frame...

Armoire, cupboard or kitchen cabinet with two doors decorated to the outside with geometric patterns framed by moldings. The legs that protrude below and the cresting and lower moldi...

Dining table made of walnut with carved lyre legs and heavy top. The lyre legs are very thick. Beautiful iron stretcher, Spanish, 19th century.

Please message us with your zip code to request a more reasonable domestic U.S. shipping quote. Vintage Italian Baroque Rococo Style Carved Wood Fretwork Dining Chairs - Set of 6. L...

This exquisitely handcrafted gold-infused opaline Murano chandelier features six undulating arms extending from the central bowl. The milky opaline glass leans towards a light blue h...

Italian walnut chest of three drawers with hand carved details throughout. Carving includes egg and dart, faces, central shield and more, all resting on lion's feet. Drawers function...

An exquisite 17th century Italian walnut commode with four marquetry inlaid drawers showcasing spectacular and rich inlay work in walnut, made with different precious woods and carve...

Set of four dining chairs by Kreiss collection Hollywood, CA. Palazzo chairs made in the Italian Baroque style from handcrafted hardwood frames. The set...

Beautiful late 19th century Italian iron and brass x-frame folding curule bench with leather seat.

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

Stunning Italian gold gilt crystal vase, dating to circa 1850 if not earlier. A true artisan and visionary sculpted this work from thick, heavy glass to create the trumpet form with ...

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...

With its ornate crest of scrolls, rosettes, and birds, this intricately carved mirror exudes the elegance of 18th-century Swedish Baroque design. The giltwood frame, hand-carved and ...

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...

A fabulous antique Swiss/German wood tavern table circa late 18th century, Known as Jogl table in Swiss Alps and German Bavarian region, the table features a skirt-boarded rectangula...

18th century Giacomo Guardi old master painting of Venetian Lagoon. Provenance. Old master painting in oil on canvas by the artist Giacomo Guardi (1764...

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

A unique decorative pillow fashioned from an authentic 17th-century Brussels tapestry fragment. This piece features a richly woven still life motif, likely part of a larger Flemish v...

Unique 18th century Baroque commode, Germany 1750-1760, walnut veneer with boxwood marquetry. Three drawer body with rectangular outline o...

Charming Italian box with Cherubs and Rococo decorations perfect for jewelry or other collectables. This box features intricate baroque and Rococo detailing including cherubs on the ...

19th Century Spanish Sterling Ecclesiastical Incense Burner & Stand Spain, Later 19th Century Hallmarked we are pleased to offer a rare and remarkable piece of religious artistry with this complete 19th century Spanish sterling Baroque style incense burner. Crafted with exquisite attention to detail, it embodies the elegance and spiritual significance of ecclesiastical treasures. This incense burner consists of two pieces that come together harmoniously. The standing column with its arched support provides a regal and stable base for the removable two-part urn motif incense burner. The silver chain adds a touch of grace and functionality to the design, allowing for easy handling. Ready to be placed and used, this incense burner is a testament to the enduring craftsmanship of Spanish silversmiths. It is hallmarked, attesting to its authenticity and quality. Unweighted and stable, it is both a decorative and functional piece, weighing approximately 7.2 ounces of silver. The overall measurements of this incense burner are 10 inches in height and 5 inches in width, raised on a 3.5-inch diameter pedestal base. The removable silver incense burner urn measures 4 inches in height and 2 inches in diameter, providing ample space for the burning of sacred incense. Embrace the beauty and spiritual significance of this Spanish sterling ecclesiastical incense burner & stand. Whether displayed as a cherished religious artifact or used in religious ceremonies, it serves as a symbol of devotion and reverence. Don't miss this opportunity to own this rare and complete 19th century Spanish sterling incense...

A Pair of Italian Rosso Verona Marble Lions, Late 19th Early 20th C. Pictured from Wikipedia is a Column-bearing lion in Red Verona marble from Santa Maria Maggiore, Bergamo. Also pi...

This Baroque-style floral opaline with gold-infused Murano glass has three lovely scroll arms holding tulip-shaded bobeches having red rigaree trim. Rigaree trim is made by crimping...

This exquisitely handcrafted gold-infused opaline Murano chandelier features six arms extending from the central bowl. The milky opaline glass leans towards a light blue hue with sub...

19th century carved walnut folding scissors Savonarola bench/settee Typical of the Italian Renaissance with carved Florentine backs. This pair cre...

Italian style six light painted and parcel gilt chandelier with iron chain and accents. Newly rewired with wax candle covers. Includes chain and a beautiful carved wood canopy.

Of superb quality, this red tortoise shell box with beautifully executed gilded brass mounts was most likely originally made to hold Tea of Sirih. It is in very fine antique conditio...