Baroque Furniture

Baroque oak Table, Italy 1760 This exceptional baroque table, crafted in Italy in 1760, represents the finest example of traditional craftsmanship....

Antique German porcelain tureen with cover by Meissen German, Late 19th Century Height 20cm, width 25cm, depth 18cm This remarkable porcelain tureen, produced by Meissen in the la...

Large gilded vintage pine frame with red velvet frame on the inside, completely in classic baroque style, decorated with acanthus leaves, flowers and patterns, first half of the 20th...

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...

An exclusive cabinet attributed to the famous German born furniture designer Otto Schulz for Boet in Göteborg, Sweden. The front is covered in leather with brass nails, drawers 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...

Wonderful highly polished pewter chargers. Measure: (20.5 inches). English, mid 18th century. Most likely, London Some showing traces of the touchmarks similar to hallmarks on silv...

Of superb quality, this red tortoise shell box with beautifully executed gilded brass mounts was most likely originally made to hold Tea of Sirih.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...

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 ...

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...

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

Italian school; second third of the 17th century. "The Healing of Tobias". Oil on canvas. Relined. very good condition Dimensions: 117.5 x 107 cm; 130 x 118 cm (frame). This canvas ...

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...

This lovely French late 19th century walnut miniature chest is ornately hand carved with the typical Coastal France, probably Breton, geometrical patterns inlays and charming hand-tu...

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...

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

Beautiful handcarved giltwood baroque style ornament that once adorned a chapel or a church. Italy, circa 1850. Weathered and small losses. Measurement includes the wooden base. H:31...

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

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...

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...

Introducing an exquisite Shades Chandelier crafted with Crystal Glass and adorned with a captivating Candelabrum Brass Bronze Antique Luis Art design. This old chandelier has been lo...

Royal Delft Collectors Portrait plate vintage handpainted Dutch Delftware - earthenware Style: Baroque, Vintage, Antique, Rustic Large blue and white cabinet plate - wall plaque Depi...

Beautiful and large box with inlay of various fruit woods. Baroque, early 18th Century. Working lock and key. Interior with later fabric. Wear consistent with age and use

A very handsome Baroque-style cabinet was made in Germany at the end of the 18th century. It has a detachable base with a drawer over bun feet. Above sits a compartment with two paneled doors flanked by barely twisted...

A box as precious as the jewels it could contain inside, almost certainly hand-carved in Italy with the highest quality onyx marble. Although this jewelery box dates back to the 1...

Largest collection of Portuguese tiles in the world 18th century Portuguese " Angels " Measures: 364 cm x 252 cm 439 tiles Important note: This panel is with the tiles restored 18...

A 17th Century baroque painting of a sideview of Jesus Christ Salvator Mundi or Saviour of the World in sfumato Saint Savior of the World, a title given to Christ on the Catholic f...

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.

A Scandinavian Baroque oak wood box with original ironwork, partially black painted. We acquired this piece in the region of "Skåne" in South Sweden. This Mid 18th Century piece wa...

Extremly charming oil painting. Child portrait of the Swedish king Charles XI (1655-1697) from the late 17th Century in the circle of David Klöcker Ehrenstrahl (1628-1698). No frame....

Anonymous Belgium; ca. 1650-1700 Wood (walnut?) Approximate size: 22.75 (h) x 18.5 (w) x 10 (d) in. The scale of this sculpture indicates its original setting was either in the cen...

Gorgeous bronze Baroque 2 tier bar or tea cart. under the with wood shelves. Features a heavy ornate bronze frame on casters wheels. Measure to the low shelve: 6.29in Measure to the...

This rather straight, very heavy solid oak Viennese baroque folding desk has been carefully restored to its original condition - no replacements! Even the 2 main keys are still there...

This Huge Antique Baroque Console Table with a stunning Marble Top is a magnificent piece of furniture that will complement any room. Th...

19th Century Peruvian Cuzo School Oil on Canvas of the Holy Mother holding the Infant Jesus. Painting has been newly framed. The Cuzco or Cusco school was a Roman Catholic artisti...

Fantastic European wood pedestal with layered gold paint. This substantial table pedestal stand is certainly a versatile piece with many uses including on a kitchen counter, or the c...

Spanish, 18th century or earlier. An 18th century Spanish bargueno or vargueno traveling desk, used for storing documents, jewels, or sewing box. The six drawer chest is inset with ...

A matched pair of 19th Century Italian alters love Angels A stunning pair of hand carved Italian 19th Century angels of love (as they face each other holding their hearts). These art...

These will be newly wired with certified US UL sockets for the USA and appropriate sockets for all other countries and ready to hang. Metal scroll with perfect patina. Housing three ...

Spectacular Sculptures "The Four Seasons" in Carrara Marble 19th Century total height: 225cm statue height: 183cm base: 48cm x 63cm base height: 40cm good condition for the period

This extraordinary desk showcases the excellent taste in form and material use, featuring solid walnut wood with beautiful grain and a warm tone that give it an elegant appearance. The carved and gilded trim of the base give a sense of movement and fluidity, lending the piece a captivating decorative charm. On the he top there is an elegant inlaid walnut rim, instead the drawers are beatifully underlined by a gilded one. Under the top there are two removable shelves opening on the front. The main feature of this magnificent desk is the possibility of being used in the center of the room, showing its best even in the back, having it perfectly finished, something that was not obvious for furniture of the same era. Resting on tapered legs, this statuary desk attains an airly, elegant quality. This masterpiece hails from the Mid-18th Century and was created by the Master Venetian cabinetmakers. Referring bibliography: This piece is featured in the book: Il mobile Veneziano del Settecento, G.Morazzoni, Gorlich Editore Milano, 1958 translated "The 18th Century Venetian Furniture", tav. 312 b...

This Louis XV style sofa is a testament to the opulence and creativity of the dynastic French monarchy. The fully restored sofa is covered with an equally luxurious seashell white It...

Grand 17th C. Viennese Baroque Archway Wood Door Surround Architectural Element . Outstanding workmanship of the Masters of the Craft. Large Carved wood black, tone down red and Gilt...

A medium sized bolection style fire surround made from Italian Arabescato marble by Ryan & Smith. A classic bolection style fireplace with a gently moulded frame on plain square pli...

2 Dutch Delft blue and White tiles Depicting figures in a landscape Origin Netherland second half 17th century Condition: Good not glued Delftware or Delft pottery is also known as ...

Unique piece 18th century Spanish refectory table. Beautiful console. Impressive farm table with four drawers Geometrical carved in front and and sides with iron hardware in drawers ...

Very large and heavy, 18th Century or earlier hand-painted Italian majolica glazed pottery charger plate depicting Mary. Central polychrome painted scene of Mary, with geometric bord...

An elegant six-light floor lamp in Murano glass with transparent colors and sophisticated finishes in pink and ivory. With a centered bulbous column that emits branches and flowers a...

20th century still life of leather books, a brass candlestick and an inkwell with quill pen painted in an impressionistic style. Oil on canvas and signed in the lower right corner.

A stunning 17th century Italian leather covered wood trunk covered in brass nail heads, some spelling out a word on top, and with iron strap hinges a...

This is a gorgeous antique square 17th Century flemish Verdure landscape tapestry with a beautiful and rich summer scene of a countryside with lush trees and vegetation. The piece m...

By Johannes Van den Aveelen and engraved by Holmice. Six views of Swedish royal residences. Hand colored engravings. Framed and matted.

This antique 19 century Sheffield Silver Co. Candelabrum circa.1877. It will be a great addition to one's collection of Antique Lighting for use & decorative display. & for those...

Italian school table of the 16th century "Crucified Christ with the Virgin, Saint John and Mary Magdalene" Oil on board Period frame 16th century ( gold frame parts ) Measures: 41cm ...

Monumental antique Dutch Baroque frame. Great for use as a mirror or art frame. Made of walnut featuring geometric form with extended corners and ornate carved gilded accents over a ...

A great example of a early Italian Walnut Sacristy cupboard. Credenza's like these were originally made for high ranking clergymen or nobility to organise and safeguard valuables and...

Gorgeous blue hand painted Baroque cherub or angel 18th century style Portuguese ceramic tile/azulejo The tile painted in cobalt blue over wh...

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...

Italian secretaire standing on bracket feet with four drawers and trapezoidal top with an inclined flap. The walnut veneer is contrasted with panel-shaped frames and decorated with a...

19th century ornate, oval-shaped beveled mirror with highly decorative gilded frame. The frame features intricate carvings, including floral motifs, scrolls, and a prominent crest a...