Baroque Furniture

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...

This extraordinary 17th-century Dutch Kussenkast, or Cushion Cabinet, showcases the rich craftsmanship of the Baroque period, constructed from oak and...

The LIRA refectory table style is adapted from Italian Renaissance designs of the 15th to 19th Centuries. Handcrafted with aged Italian solid hardwoods & hand-forged iron elements an...

Wonderful three-panel vanity. The vanity features a central mirror flanked by two narrower side mirrors. Below the central mirror is a small table with marble top and two drawers. Th...

Stunning , well crafted multipurpose bunch bowl Keep your wine or champagne chilled in style with this elegant round bowl, crafted in India circa 1970 and sitting on a round base wh...

Add whimsical elegance, sophistication, and romantic warmth with this one-of-a-kind antique Italian Renaissance sculptural floating putti wall mirror enhanced by beautifully aged war...

Rare red pitcher ‘cantaro’ from Calanda, Aragon-Zaragoza area of Spain, circa 1750 a rare piece from a Private collection. Other examples can be seen in the Museo de Zaragoza. With ...

With a rectangular top over a drawer and a door and a lower drawer. Bracket feet.

Rare grey pitcher ‘cantaro’ from Calanda, Aragon-Zaragoza area of Spain. A rare piece from a Private collection, circa 1750. Other examples can be seen in...

Pair of custom Fortuny textile pillows made with a rich navy blue & silvery gold coloration. The design has swirling plumes and acanthus leaves throughout. Neutral colored linen ba...

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

A fine antique Dutch Delft vase or jar. The body decorated with cartouches of stylized peony bouquets on a latticework ground. The shoulder decorated with alternating cartouches of ...

Rectangular used upholstered seat with six turned legs joined by turned stretchers.

19th Century French Terracotta Fruit Basket Centerpiece Sculpture Handmade, large, refined terracotta basket centerpiece features intricately...

A remarkable one-of-a-kind Spanish Baroque Period hand carved walnut table with beautifully aged warm rustic distressed patina. Hand-crafted in Spain in the first half of the 18th century, with later architectural elements, having a rectangular single board plank top with breadboard batten ends and desirable overhang, above deep geometric pattern carvings to three sides of the apron and chip carved running ornamentation to the back, elevated on tall hand turned legs. A wonderful way to add authentic antique character, rustic warmth, and European old world charm! Dimensions (approx) 32" Tall, 56.5" Wide, 27" Deep As warm and attractive as it is useful, having the ideal large size and proportions for a variety of different uses, including as a Mediterranean Revival dining sideboard server - buffet table...

Originating from the autonomous region between France and Spain known as the Basque Country, this oak kutxa trunk was hand-carved in the late 1700s. In the Basque language, kutxa tra...

Pair of Italian 19th century Baroque carved arm throne chairs. The pair with figural carvings and putti sleeping on beds of leafs, attributed to Valentino Panciera Besarel (Venice, 1829-1902) in the manner of Andrea Brustolon (1662-1732). The ornately carved thrones, each flanked with figures of standing males supporting a branch-carved armrests with vines. Raised on cabriolet scrolled legs. Andrea Brustolon (20 July 1662–25 October 1732) was an Italian sculptor in wood. He is known for his furnishings in the Baroque style and devotional sculptures. Biography He was trained in a vigorous local tradition of sculpture in his native Belluno, in the Venetian terraferma, and in the studio of the Genoese sculptor Filippo Parodi, who was carrying out commissions at Padua and at Venice (1677). He spent the years 1678-1680 at Rome, where the High Baroque sculpture of Bernini and his contemporaries polished his style. Apart from that, the first phase of Brustolon's working career was spent in Venice, 1680–1685. Brustolon is documented at several Venetian churches where he executed decorative carving in such profusion that he must have quickly assembled a large studio of assistants. As with his contemporary in London, Grinling Gibbons almost all the high quality robust Baroque carving in Venice has been attributed to Brustolon at one time or another. In the Venetian Ghetto, at the Scola Levantina, Brustolon provided the woodwork for the synagogue on the piano nobile, where the carved, canopied bimah is supported on Solomonic columns, which Brustolon had seen in Bernini's baldacchino in the Basilica of St Peter's. His furniture included armchairs with figural sculptures that take the place of front legs and armrest supports, inspired by his experience of Bernini's Cathedra Petri. The gueridon, a tall Stand for a candelabrum, offered Brustolon unhampered possibilities for variations of the idea of a caryatid or atlas: the familiar Baroque painted and ebonized figural gueridons, endlessly reproduced since the 18th century, found their models in Brustolon's work. His secular commissions from Pietro Venier, of the Venier di San Vio family (a suite of forty sculptural pieces that can be seen in the Sala di Brustolon of the Ca' Rezzonico, Venice), from the Pisani of Strà, and from the Correr di San Simeone families encourage the attribution to him of some extravagantly rich undocumented moveable furniture. Andrea Brustolon's elaborate carved furniture aspired towards the condition of sculpture, such as the Dutch bases for console tables which look like enlargements of the work of the two Van Vianens, Paulus and Adam, perhaps the greatest Dutch silversmiths of the period. These carved pieces display the Baroque tendency to develop a form three-dimensionally in space. Brustolon's walnut, boxwood and ebony pieces transcend ordinary functional limitations of furniture; they are constructed of elaborately carved figures. The framework of Brustolon's chairs, side tables and gueridons were carved as gnarled tree branches, with further supports of putti and male figures carved in ebony. Backrests of the chairs, which were never touched in the rigidly upright posture that contemporary etiquette demanded, were carved with allegories of vanity, fire and music, etc. The most extravagant piece delivered for Pietro Venier was a large side table and vase-stand of box and ebony, designed as a single ensemble to display rare imported Japanese porcelain vases. The eclectic allegories include Hercules with the Hydra and Cerberus, males and reclining river-gods (see ref.). For the Correr, less extrovert chairs bear female nudes extended along the armrests. For the Pisani, he carved a suite of twelve chairs (now at the Palazzo Quirinale) with flowers, fruit, leaves and branches to symbolize the twelve months of the year. Work by Brustolon is at the Villa Pisani at Stra. In 1685 Brustolon returned to the house where he was born at Belluno, and from that time devoted himself mainly to tabernacles and devotional sculptures in walnut, boxwood or ivory. His polychromed ivory Corpus from a crucifix is in the Museo Civico di Belluno, which preserves some of Brustolon's preparatory drawings for frames to be carved with putti displaying emblems. A pair of boxwood sculptures, The Sacrifice of Abraham and Jacob Wrestling with the Angel...

This handsome baroque style oak library table with one drawer has heavily turned legs, scalloped skirt and lower stretcher. The top is all natural oak with nicks, cracks and stains r...

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-...

This original 18th century frame is silver gilded over copper. It is elaborately embossed and chiseled. The cartouche is surrounded by rocaille and volute motifs. The Carta is mounte...

This is a magnificent antique Venetian Sansovino style high relief carved, richly water gilded and highly burnished framed mirror. It is certainly an outstanding 19th century large scaled museum quality...

A Swedish period Baroque painted wood occasional table from the turn of the 17th and 18th century. This antique table from Sweden has a rectangular-shaped elm wood top with angular/c...

Pair of magnificent, large gilt and hand-carved wooden wall brackets in the Baroque/ Rococo style featuring elaborate and elegant foliate scrolls, measuring 22 by 14 1/2 by 10 inche...

An Italian Baroque period walnut armchair from the 17th century, with slanted back, large scrolling arms, turned legs and carved X-Form cross-stretcher. This Italian Baroque period w...

French Baroque Style Carved Mahogany and Green Marble Top Round Center Table. Item features shapely carved cabriole legs, wonderfully carved X-form center stretcher support, beautifu...

17th Century Pair of Dutch Bronze Candlesticks. Very rare pair of Dutch Baroque heavy bronze cast candlesticks with a four-sided base, circa 1680. The very large square base is crea...

An Italian Baroque period walnut console table from the 17th century with carved lyre-shaped base. This Italian Baroque period walnut console table, dating back to the 17th century, ...

18th Century German Baroque painted chest of drawers with serpentine front drawers on tapered feet in later paint.

Dining table made of walnut with carved lyre legs and heavy top. The lyre legs are very thick. Beautiful iron stretcher, Spanish, 18th century.

Venetian daybed of hand-carved wood with silver gilt accents on a Venetian grey blue ground. Ornate Rococo carving, highlighted by silver gilding and l...

A fine example of a German Baroque tobacco jar with original pewter lid. The rich ocher salt glaze decorated with raised floral motifs. A handsome addition for the collector of pipes...

Gorgeous set of 18 bar glasses with gold Greek Key design rims. 6 of each size, champagne, wine and rocks. Unbranded in the style of Versace.

Dining table made of walnut with carved lyre legs and heavy top. The lyre legs are very thick. Beautiful iron stretcher, Spanish, 18th century.

Spanish Baroque style wrought iron torchère floor lamp with black patina. Beautifully hand wrought and turned shaft supported by a tripod base. This date from the early 20th century, a time when Italian and Spanish Baroque furniture...

This type of chandelier is identified and named after the 18th century Empress of Austria, who in the late 18th Century had her palace filled with these Bohemian crystal chandeliers....

Pair of late 19th century French Baroque bronze chenets / andirons Beautifully decorated with dolphin and putti. A fleur-de-lys sits on top of the obelisks. These are in very g...

Unique Italian 18th century hand painted Louis XV "Cassettone" Marchigiano from the Center of Italy region of Marche Italy, circa 1740. Important, unique ...

Heavily carved baroque oak cabinet with men drinking in a pub and additional carving throughout indicate it likely originally served as a liquor...

A Museum Quality piece, this is an exquisite example of a late 17th/ early 18th Century Brussels Baroque Mythological Tapestry. It is a complete piece with its original border, measu...

These elegant, antique bedside tables were created in Spain, circa 1800. Both matching cabinets are made of solid walnut; they have a recessed center carved door flanked by a pair of inlay...

These Fortuny pillows feature a stunning example of the brand’s signature hand-printed textile artistry. The design showcases a grand, classical motif that includes a floral urn overflowing with stylized blooms, framed by ornate scrollwork and architectural flourishes. This composition suggests a Renaissance or Baroque influence, often found in Fortuny’s archive patterns. The color palette is particularly rich: a terracotta or burnt sienna red pattern is printed over a muted taupe or stone-gray background, creating an earthy yet regal look. The raised design offers texture and dimension, with a soft sheen that catches the light beautifully. The pillows are finished with a contrasting neutral cord trim and rust linen backs, which frames the textile with a tailored, sophisticated edge and subtly picks up tones in the print. This pattern may be part of Fortuny’s “Dandolo...

A Spanish Baroque style Fratino walnut console table from the 19th century, with lyre-shaped base and iron stretchers. Created in Spain during the 19th century, this Fratino walnut c...

Rectangular top with old crack over a trestle base with wrought iron stretchers. Old elements.

Swedish 18th century Baroque console table with one drawer. Ca 1760 Sweden.

Pair of carved painted console tables. The finish is painted in soft cream muted colors. There is fine carving throughout depicting flowers and acanthus leaves. We had the painted to...

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...

Large Italian Tapestry, Country of Origin / Rug Type: Italian Rugs, Circa Date: Late 20th Century – Size: 11 ft x 19 ft (3.35 m x 5.79 m)

Antique Dutch Sofa Side Table Carved Oak Bulbous Leg Baroque Ebonzied Danish. Direct from Europe, a distinctive antique European table with a stunning si...

A Beautiful Italian Still Life oil painting on old canvas of a brass urn holding a bouquet of assorted flowers set on a ledge. 18th or ...

A very special and rare antique French bronze floor full length tall, wall mirror with beautiful green verdigris. The detailed geometric low relief fretwork decorated mirror was onc...

Exquisite Polychrome Spanish santo wood sculpture of St. Dominic Anonymous ca. 1700; Spain or the Spanish Americas Polychrome wood Approximate ...

A stunning Italian Florentine baroque rococo style wall mirror Italy, Circa 1960s Gold gilt wood, with mirror. Measures: 6"W x 1"D x 4.75"H. Very good original vintage condition.

This beautiful maiolica pottery charger is from Montelupo, Italy and is boldly decorated with a soldier walking, carrying a tool of the day. Vividly painted in yellow, green, and blu...

An exceptional pair of 18th century Italian Baroque grand scale consoles in waxed walnut wood with elaborated design and the scroll elements. The half-moon rounded tops have molded e...

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...

This is a great example of a French period Baroque brass candlestick. The candlestick is in very good original condition. There is a slight dent to the round base of the stick and th...

18th Century Italian Baroque Santos Figure  Italy, 18th century or older An exquisite 18th-century Italian Baroque Santos figure is a fine example of religious artistry, dating back...

Rectangular top with molded edge over two paneled doors with diamond-shaped motifs, raised on plinth base ending on compressed bun feet.