Baroque Furniture

This magnificent antique Italian double bed is an exceptional example of refined cabinetmaking, crafted from solid walnut and richly figured walnut burl. The bed comes from an antiqu...

Elegant custom decorative pillow crafted with an authentic Fortuny printed cotton front, featuring a classic Venetian-inspired motif rendered in rich rose and soft coral tones on a m...

This elegant antique piece is crafted from Italian marble. The central part of the mantel features a beautiful hand carving of a mythological figure or mask, typical of the Baroque E...

Special pair of hand carved wood and painted 19th century polychromed candle wall scinces, Italian. In excellent antique condition with minimal wear,...

A substantial antique-style oak sideboard cabinet featuring a two-part design with upper and lower storage sections. Crafted in solid wood with a rich dark finish, the piece displays...

A substantial wrought iron and oval glass-top dining or center table crafted in a stately Baroque style by California artisans at Formations, Hollywood, CA. The square iron base is c...

Stunning twelve-light polished brass chandelier in the style of Baroque. Socket: 12 x e 14 for standard screw bulbs.  

This large and spectacular eight-arm Ca’ Rezzonico style Murano chandelier is a defining statement piece of lighting art, crafted in the definitive manner of legendary master Giusepp...

Amazing Sculpture of the Virgin Mary Immaculate Conception, Olot School, 20th century – Girona, Catalonia Material: Wood pulp School: Olot School Period: Early 20th century Count...

An exceptional example of 17th century Flemish verdure tapestry work, this antique pillow showcases a vibrant Baroque floral design rendered in handwoven wool. The surface presents l...

A pair of European carved wooden wall brackets with gilded and painted decoration, nineteenth century. Each takes the form of an architectural corbel, with a broad molded shelf suppo...

French Baroque Style German brass tray top yale burge coffee table. Elegant French Country Baroque style walnut coffee table with solid brass removable two handled tray top. The well crafted wood...

A Baroque cabinet of two-part construction, circa 1760, featuring a striking black exterior and blue-painted interior. The two-part form — consisting of a lower cabinet base and an u...

Mary Magdalene the Penitent oil painting on canvas, of Italian, Lombard origin, dates from the 17th century and is unframed, has been lined and restored to a new frame; this ancient...

This is a gorgeous and large antique Early 17th century Flemish Verdure landscape tapestry depicting a beautiful and rich summer scene of a countryside with lush trees and vegetation...

A Spanish 18th century sculpture of Virgin Immaculata Madonna. This is a fabulous antique sculpture of a Virgin Immaculata Madonna created by a member of the Spanish school in the m...

This Bargueno is embellished with a carving of Don Quixote de la Mancha bordered with branches of leaves. The desk is supported by a pedestal joined by a bridge of turned columns. Th...

Antique mirror in Baroque style is a true masterpiece of elegance and refinement. The gilded frame, decorated with floral details and fine finishes, frames the reflection with a touc...

Very large Maria Theresa chandelier with 28 candles material metal frame with baluster decoration in the center, richly decorated with glass prism This chandlier is in perfect condit...

Stunning Danish baroque style high-backed ear-flap chair hand made in the 1930s The frame and armrests are made beautifully of turned and carved solid oak....

A fine antique 18th century marquetry inlaid walnut baroque commode, chest of drawers, Austria or Germany, circa 1760. This fine 18th century commode is of serpentine shape and has a...

Spectacular wall fountain in Breccia Pernice and Giallo Siena marble. An extraordinary work of Venetian origin, composed of three modules. A generously sized, well-proportioned, an...

Old chandelier with love and professionally restored in Berlin. electrical wiring works in the US. Re-wired and ready to hang. not one missing. Cabling completely renewed. Crystal, h...

Gorgeous and very Refined pastel portrait of a young woman on paper, titled “Allegory”, 19th century. It follows an original model by the renowned Italian Rococo painter Rosalba Carr...

Crafted from a genuine 17th Century Brussels tapestry, this antique pillow showcases an exquisite all-over botanical pattern with flowing stylized leaves woven in sophisticated shade...

Our “Vernazza” Old Walnut 3-drawer dresser - The Italian Art & Handcraft of fine custom antique reproduction. Available in custom size and configuration by quote - handmade to or...

An Italian Baroque carved walnut revolving settle bench, likely Central Italian, dating to the late 17th or early 18th century, circa 1680–1720. Architecturally conceived and unusual...

A very charming 18th century Italian molded mirror with old, possibly original, spotty mercury glass. Beautiful patina and character. Due to their timeless appeal, these mirrors wo...

Antique Gilded Bronze Angel Wall Sconces from France, 1920s Magnificent pair of antique angel wall sconces, crafted from beautifully gilded ...

This remarkable 17th-century Brussels tapestry pillow is created from an early European woven textile distinguished by its exceptionally large-scale botanical composition. Rather tha...

Baroque fall-front secretary veneered in walnut, featuring a commode base with three drawers and a slightly convex front. The upper cabinet has two doors and a shaped cornice, fitted...

A large 17th century French capital on a associated base. Sculpted front and sides, flat backside. Great to decorate a garden or display indoors.

Amazing Neo-Gothic Pulpit in Alabastro Fiorito Marble, Florence, 18th Century Alabastro Fiorito Marble is a highly prized marble, the columns are made of Alpine green marble. It com...

Wonderful 17th century French Baroque cast iron figure of the Virgin praying. Likely originally part of an outdoor shrine as it has been exposed to the ...

A magnificent antique French tapestry depicting a scenic river including a fountain and a large tree full of flowers, dating to circa 1920 and showcasing elegant craftsmanship and ar...

JP Kroese, Dutch Baroque, Marquetry, Moon Face Dial, Grandfather Clock, 18th C A stunning totally refinished case showcases this spenderd18th century, the brass dial with enameled l...

Set of 6 High-Quality Rococo Salon Chairs, 18th Century Walnut Solid walnut wood frame, upholstered with classic spring core cushions covered in a beige fabric. Curved and richly o...

An impressive antique commode of particularly elegant proportions, distinguished by its beautifully executed marquetry and highly decorative veneered surfaces. The top features an e...

Odyssée De La Mer. A large 19th-century French cast bronze fragment with a mounding growth of over 5000-carat natural citrine and black tourmaline that surround a giant black sea fan...

An exuberant 19th-century Italian Baroque-style carved and giltwood mirror, richly detailed with dense foliate scrolls, acanthus plumes, and deeply pierced carving throughout. The fr...

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...

A 19th Century, antique French Baroque style side table made of hand crafted Walnut, in good condition. This Provencal serving table is refinished with a rich and warm colored hand w...

A stunning, monumental baroque antique (1700s or earlier) Italian walnut chest of drawers from the Lombardy region of Italy, typical of the Bergamo cabinet-making tradition. Decorati...

Large gold-colored vintage pine frame with a very beautiful aged patina, entirely in classic Baroque style, decorated with acanthus leaves and a ribbon pattern all around, circa seco...

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,...

Baroque secretary with three drawers and a serpentine front, featuring a fall-front writing surface and an upper tabernacle with a tall door and ten small drawers. The piece is crow...

Wonderful big vase with shaped round body embossed, chiselled and engraved with oak leaves. On the body are soldered melting made acorns Above the handles are placed two children. Th...

This 17th-century North Italian mirror represents the height of late Baroque craftsmanship, bridging the gap between architectural rigor and the burgeoning grace of the Proto-Rococo....

A striking and sculptural pair of hand-carved 22K gold leaf wooden angel wings, richly gilt and mounted on custom iron stands with square bases. Each wing is carved with deeply mode...

Impressive oak baroque armoire that dates from the late 1700's into early 1800's. Note the heavily paneled doors, massive crown all resting on large bun feet. Restored, later professionally painted in layered shades of antique white and light gray; all lightly distressed to fit the age of this stately armoire. Any scratches, cracks, dings, or age related separation are reflective of age and do not detract from the beauty nor function of this large oak armoire...

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

This is a spectacular lidded tureen made by Meissen circa 1755. The white porcelain is decorated with multicolored flower branches and bouquet leaves. At the top of the lid there is ...

Immerse yourself in the elegance of bygone times with our exclusive antique-style wall lamp. This wall lamp is not only a stunning lighting object, but also a real work of art that b...

This elegant 17th century Flemish tapestry pillow is crafted from an antique verdure fragment, featuring a beautifully layered botanical composition that has aged into a soft, painte...

Pair Table Lamps, Floral Design, Gilt Metal, Marked Made in Italy. Each Lamp has five candelabra sockets. Good working order.

This exceptional Spanish coffee table is entirely crafted from solid chestnut wood. The piece shows a warm deep-brown color and a rich patina, the result of centuries of use and care...

This is a monumental and spectacular 18th century, or possibly early 19th, oil on canvas of the Italian school. The canvas depicts a shepherd serenading a maiden in a wooded glen. B...

20th 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 spindles, and Moorish ...

A fine Italian 19th century oil painting on canvas "La Madonna della Seggiola" after Raphael (Raffaello Sanzio da Urbino 1483-1520) The circular 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 (all high quality gilt is original) 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 Measures: Canvas height: 29 1/4 inches (74.3 cm) Canvas width: 29 1/4 inches (74.3 cm) Painting diameter: 28 1/4 inches (71.8 cm) Frame height: 57 7/8 inches (147 cm) Frame width: 45 1/2 inches (115.6 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...

The image shows a vintage Reed & Barton 1795 Winthrop 5-piece tea set in silver plate. This set typically includes: A teapot A coffee pot A sugar bowl with a lid A creamer A waste b...