Baroque Furniture

Pair of fine antique ginger jars, circa 1699-1714) with pierced and cased cartouches and hand painted figural landscapes. Each with a different scene yet maintaining the mountain, la...

Very impressive 19th century solid silver antique German model of a ship, named "Nef" in the renaissance style, impressively large and highly deta...

Chairs Assembled Baroque Style Set of 10 Dining Chairs Black Sweden. An assembled set of 10 dining chairs in the baroque style made during the 18-19th Century. Refinished in our Lase...

Beautiful Baroque marble holy water font or stoup, Unique and original period piece. Italy, circa 1750. Weathered condition. H:11,5cm W:24,5cm D:18-33cm

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

Our artisan's pieces are a dream come true, as in Disney's Cinderella. Ceramic tea service are completely hand-crafted and painted with love and ...

Beautiful Antique Pillow Hand made incorporating a Very Rare late 16th Century Embroidered Panel Italian Renaissance work , most likely Florence Exquisitely embroidery using colou...

Our Abbey Column Table brings the allure of ancient abbey dining halls to your environment. Crafted to order, this table is inspired by the antique tables that once graced these historic spaces, fostering communal dining and conviviality. Meticulously constructed from solid aged oak, our tables reflect exceptional craftsmanship and heritage. The strikingly sculpted column legs, coupled with a robust foot rail, exude classical sophistication. The tabletop, hewn from wide planks of solid French oak measuring 4 cm thick (approximately 1.6 inches), emanates a natural and authentic aesthetic. Designed without a skirt below the tabletop, this table offers generous ground clearance, facilitating the easy placement of armchairs. A resilient ultra-matte lacquer finish not only enhances the wood's innate beauty but also ensures protection against stains and marks. Maintenance is hassle-free, requiring only a quick wipe-down with a damp cloth and mild household cleaners. Elevate your space with our bespoke...

memento marble, vanitas marble, vanitas bust, ancient Roman, Roman art, classical art, Greek art, bust, white Carrara marble, emperador bust, classical sculpture, ancient sculpture, ...

Offered is an absolutely stunning, 1850s or older wall console or shelf. Minor patina gives this piece a classy statement. Made of hand craft wood and gilded. Use just as a decorativ...

A wonderful early 20th century French gilt bronze three-light girandole with pleated silk shades, and dripping with handcut rock crystal and man-made crystal pendalogues. Fixture is ...

Late 16th century Venetian cedar wood cassone wedding chest featuring finely detailed carving in the champleve decorative style on both the front...

Spanish colonial narrow console table. This piece has legs with two pedestals joined by a wooden stretcher.

Wonderful image after Rembrandt Fine Steel engraving. Published by Fisher, London, Dated 1842 Unframed.

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 ...

Late 18th -early 19th century, wired for 18 lights, 3 rows, baluster-form patinated shaft with, end with double-headed eagle, Measures: height c. 98cm, diameter c. 70cm Suitable for US.

A fine antique 18th century Dutch Delft pottery tile. Depicting a mermaid in the ocean wringing a snake with her hands. Simply a wonderful Dutch Delft tile! Date: 18th Cent...

18th century hand carved Spanish polychrome painted framed mirror This Baroque wood frame is hand carved and polychrome painted. The contrast...

This is a very fine handmade baroque mirror, with the original mercury glass. The wooden frame is hand painted with elegant Chinese drawings on light green and a golden border. A pi...

This type of mirror is becoming increasingly difficult to find, except in modern rather nasty imitations. This example has verre eglomise panels and Murano piping, boldly shaped and ...

Exceptional pair of carved giltwood mirrors refined with precious tortoiseshell rectangular plate scrolled acanthus leaf cresting, architectural elements, winged putti and scrolled f...

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

A French set of two very large antique wall mirrors with opulent carvings in Walnut wood Boisserie with worked in mirrors, in good condition. The mirrored glass is original. These Ba...

A beautiful chandelier with three lights that was made in Austria, by Eglo Leuchten, circa 1980s. The chandelier is made in polychrome hand carved wood and metal, with glass shades....

Antique flat-lidded chest from the 17th century. Renaissance / Early Baroque. Made in 1691 in oak wood. Until recently, the chest was owned for 333 years by a family of lawyers from ...

Very unusual and rare 17th Century Spanish Walnut Table, (likely Aragonese), with a one-plank top, supported by two interestingly ca...

Immense 17th Century Flemish wool verdure tapestry Flemish, 17th Century Height 323cm, width 424cm This very large and exquisite tapestry was crafted in wool in Flanders during the ...

Maximilian Pfeiler (active Rome, circa 1694-circa 1721 Budapest) Still life with peaches, grapes, figs and pomegranate Oil on canvas, Measures: cm H 63,5 x W 47. With frame cm ...

Italian Venetian (18th Century) faux marble painted credenza cabinet with stepped back sides and carved gilt trim with 2 large front and 2 smaller ...

"The Tears of Saint Peter", Follower Domenikos Theotokopoulos- El Greco 19th Century El Greco Museum. Toledo, Castilla la Mancha, Spain. Saint Peter's Tears El Greco (1541-1614) Oil...

Castilian mid century console table in walnut with two front drawers in gold leaf. Beautiful console in walnut and gold leaf, with an original mid-century style from the 40s. It ha...

Devotional plaque, Immaculate Conception. Bronze. Spanish School, 17th century. Bronze devotional plaque with a washer at the top and an oval shape featuring a relief on the front....

Crucifix Lombardy, mid-17th century Bronze, iron, and wood Sculpture: 33 cm height x 35 cm width x 10 cm depth at the knees; Cross: 42.12 in height x 19.68 in width (107 cm x 50); Ba...

For sale is a stunning antique chandelier that has been professionally restored in Berlin. The chandelier has been meticulously re-wired and is now ready to be hung. Not a single cry...

Beautiful Hand carved group of winged angelheads. Wonderful traces of paint are visible and the wood has a gorgeous natural patina due to its high age Spain, circa 1650-1750 Weathere...

Beautiful hand carved European walnut throne chairs circa 1900. Solid and very sturdy. Re-upholstered at a later date with aniline dyed leather seats & fabric backs finished with br...

A tall and slim gold gilt mirror with delicately decorated frame and ribbon tied crest. Can be either wall mounted or floor standing. The foliate and laurel leaf carving is fine and ...

The material of manufacture of this unique chandelier is a real 100% gilded BRONZE, which is valued all over the world and is characterized by increased strength, corrosion resistan...

19th C. Boulle Inlaid Table Box Miniature Pastoral Landscape, Signed 'Resck' 19th Century or Older This exquisite 19th-century Boulle inlaid table box features a beautifully detail...

Beautiful weathered oak panel depicting a baroque angel on an acanthus curl. Weathered and small losses, most likely it was once part of a larger panel. France circa 1750. treated ag...

Silver 264-piece flatware (cutlery set) for 18 persons, Made by Koch & Bergfeld, Germany / Bremen, circa 1900 Gorgeous German cutlery set / flatware / dinnerware consisting of 264 pieces. Most elegant design = Baroque FORM & engraved initials HG. Additionally, this cutlery set is kept in Gorgeous wooden chest made of oakwood (refurbished by hand): Two doors - having lock and key - are existing at front side / additionally, a hinged platter which is upholstered at inner side is attached to chest's upper side. Inside there are five drawers with knobs visible, all of them well-equipped with finest interior decoration (interior design) presenting this flatware set's parts in most elegant manner. This cutlery set / flatware consists of following parts: 18 dinner knives. 18 dinner forks. 18 soup spoons. 18 appetizer knives. 18 appetizer forks. 18 appetizer spoons. 18 coffee (dessert) spoons. 18 ice-cream spoons. 18 fish knives. 18 fish forks. 18 cake forks. 18 mocha spoons. 18 forks for fruits. 18 knives for fruits. Three napkin rings. Two sugar tongs. One small carving fork. One knife for butter. One fork for cheese. One fork for cake. Two forks for meat...

Francesco Aviani (Italy - Venice, 25-11-1662 / 1715) att. Couple of paintings depicting Capricci Oil on canvas, 135 x 183 cm, without frame The two large and fine paintings depict two illusionistic architectural renderings, with views of colonnades and arched buildings, animated by figures. The compositions are characterized by the harmony with which the painter introduces the sumptuous architectural monuments, the mirrors of water, the buildings in the distance and the views of the landscape. Dominates with a color on the tones of brown and ochre that stands out on the blue sky, marked by some cloud of steam. The insertion of the figures to enliven the architectural views also balances with the set. The Capriccio, an artistic genre that has made its way into Italian painting since the 17th Century, is characterized by the representation of fantastic architectures or prospective inventions, sometimes combined with elements drawn freely from reality. The two paintings are an example of this type and they are a very interesting and Fine artwork. The remarkable pictorial quality emerges both from the composition of the ensemble and from the way in which the artist describes the views with great attention to detail, highlights and refined, perfectly realistic, chiaroscuro. The same must be recognized for the figures: these are described with a wise brushstroke, quick and quick touches give the dynamism of the moment that is captured, as if time had stopped to show and narrate what is happening. The painting on the right represents a large Baroque building in stone and paved with marbles, two floors, with moving façade, large columns with corinthian columns, a large portal with a staircase with large footsteps, a balustrade with string, from which some figures appear, and two equestrian monuments in bronze. The sumptuous building overlooks a large POOL of water, with a gushing fountain, around which some characters sit. In the second floor is described a white palace from which rises a tower crowned by a structure with wrought iron loggia. In addition there is a bridge and some architectural ruins behind which some mountainous reliefs fade towards the horizon. On the staircase is described a particular scene. The people seem to be part of a very precise story. A woman, in the shadow of a parasol supported by a servant, would seem to drive out of the palace a man, who, taken under his arm by two maidens with a determined attitude, is led to a boat. The scene could be identified with the biblical episode of the parable of the prodigal son (Luke 15,11-32), at the moment when the prodigal son is robbed and driven away by the harlots. The episode tells of a man with two children. The youngest said to his father: “Father, give me the part of my inheritance”. And the father divided the substances. After not many days, the youngest son, collected his things, left for a far country and there he lost his substances with prostitutes and living as a debaucher. When he had spent everything, there came a great famine in that country and he began to find himself in need. Reduced to hunger, he was forced to be a pig herder to survive. He therefore meditated in his heart to go to his father and ask for his forgiveness and to be welcomed anew, even as a servant. While still on the road, however, the father saw him and ran towards him, receiving him with open arms. He then ordered his servants to prepare a great feast for the occasion, killing for the purpose the "fatty calf". The firstborn did not understand why his brother was given such treatment, and reminded the parent that he, who had always obeyed him, had never received a single kid to celebrate with his friends. The father answered him: «Son, you are always with me and everything that is mine is yours; but it was necessary to celebrate and rejoice, because this brother of yours was dead and came back to life, was lost and was found». The parable of the prodigal son was often portrayed in painting and the scene he finds most is certainly that of returning home in his father’s arms. Among the many is a canvas by the famous painter Giovanni Paolo Pannini (or Panini) (Italy – Piacenza, 1691– Rome, 1765) kept at the Hallsborough Gallery in London. Rather rare, however, is the scene of the prodigal son driven and robbed by harlots. There is an engraving by Hans Collaert II (1561-1620) in which this moment is described in the background compared to the moment, narratively later, in which he is penitent among the pigs. The second painting, certainly pendant of the first, represents a similar palace, with some characters overlooking the balustrade marcapiano and other figures around the large bathtub quadrilobata. In the foreground is described a monument with two large stone sculptures. In the distance some architectural elements and, beyond, the mountains are lost on the horizon. The studies related to the numerous painters of architectural views and caprices, active in Italy, and the archival documents found, which could better clarify commissions, biographies and certain works, are scarce and sporadic. Therefore there are still many difficulties in reconstructing a catalogue of autograph works for each author. Through paintings in private collections, in museums and paintings passed on the antique market it is however possible to advance some attributions in order to better delineate the various artistic figures. The style of the works studied here leads to a dating that runs between the 17th and 18th Centuries, with obvious influences dictated by the perspectives of the brothers Galli Bibiena. The analysis of the architectures and the chromatic palette suggests that we are in the presence of a northern Italian and Venetian author. Observing the decorations and the volutes, the brightness and the perspective disposition in fact, we find several analogies with those used by the Vicenza painter Francesco Aviani, excellent in pictorial perspective and architectural views. The biographical profile of Francesco Aviani (Italy - Vicenza, 1662-1715) was essentially traced in 1956 by Andreina Ballarin, then re-visited by Federica Spadotto in 2014 and Giancarlo Sestieri in 2015. Certain documents about his life are scarce, as are the documented works. He was born in Venice, probably on 25 November 1662, to Bernardo and a Magdalene whose surname is unknown, and was baptized on 3 December 1662. Between 1701 and 1703 he worked, together with his brother MarCo, sculptor, for the fresco decoration (now illegible) of the church villa in Soella (Vicenza). On October 16, 1703 he married Isabella Carcano. On March 26, 1715 he made a will and died on April 3 of the same year, in Vicenza. The frescoes in the refectory of the sanctuary of Monte Berico in Vicenza are considered authentic works by Aviani, probably made in 1708; the paintings preserved in the Civic Museum of Vicenza: “Landscape with Lazzaro and the rich Epulone”; “Christ among the doctors”; “The miraculous fishing”, works not datable but with attribution corroborated by style. In addition, the frescoes in the east and west corridors of the Villa La Rotonda, near Vicenza; the fresco in the apse basin of the chapel of the church S. Croce, Vicenza, now destroyed; the frescoes of the central hall of Villa Camerini a Montruglio (1714) and a painting of a “Porto Regio”, of which we have a print engraved by Dall'Acqua. From his works emerges the artistic background that animated the Venetian culture in the early eighteenth century. The scenic grandeur with which Aviani treats the architecture also suggests a stay in Emilia of the painter, in which he could have come into contact with the environment of the Bibiena. These contacts would be confirmed by the press of Cristoforo Dall'Acqua (Vicenza 1734-1787), “Il porto regio”, after a painting of Aviani. The press was part of a group of engravings, representing royal buildings, reproducing paintings of the Bibiena. In the eyes of Dall’Acqua, therefore, Aviani’s work was not foreign among those of the Emilians. Inside the sumptuous architectural whims, Aviani often depicts biblical scenes, in which the characters share the space and the narrative rhythm, along with figures drawn from everyday scenes, memories of the Veronese and Bassano heritage. Also in the works covered by this study the author does not seem to want to give up a biblical subject, though the purpose of the paintings appears to be clearly a staging scenography-architectural within which the characters are relegated to the role of extras. From the examination of the architectural Capriccio gathered under the name of Aviani then emerge common elements. The comparison between these works and the works in question highlights the proximity of the compositions. The imposing and scenic architectures are in fact equally characterized by the perspective-scenographic ability diffused in emilian “quadraturisti” and in Bibiena work. In fact, you can see the spectacular slender architecture in the lower part, the loggias that create chiaroscuro games with arches and binate columns placed on massive bases and overhung by projecting cornices. Significant also the comparison with two paintings with architectural whims in a night vision attributed to Francesco Aviani. In Aviani’s works it is possible to find a certain knowledge of the Roman Codazzi paint nd its early development of the eighteenth century, developed with the Locatelli, the Pannini and the less known Domenico Roberti. To Roberti have been recently attributed two works that have some compositional affinity with the canvases in question. The same can be done for a work on the antique market, attributed to Pietro Francesco...

Large Baroque style Austrian ormolu mounted musical clock Austrian, early 19th Century Total height: 211cm Clock: Height 135cm, width 86cm, depth 52 Stand: Height 76cm, width 81c...

19th century Baroque style Italian silver plate from Turin. Scallop/shell detailed border, stamped on back.

A unique design of master carving from La Maison London. A hand carved Four Poster bed frame, in the Rococo style, which also doubles as bunk bed. The top sec...

This antique 18th Century Dutch Delft Chinoserie plate is a captivating piece of ceramic art that reflects the outstanding craftsmanship and cultural exchange of its time. Originatin...

A remarkable pair of late 18th century Italian architectural elements, likely salvaged from a chapel or palazzo interior. Each piece is hand-carved from wood, showcasing deeply model...

The Pietre Dure panel inset with lapis lazuli, marmo giallo, in a rectangular shape, probably a panel from a cabinet.

Side table of walnut with carved lyre legs . The top is finely carved edges. Beautiful and original iron stretcher, Spanish, 19th century.

Meissen coffee service, consisting of 24 parts: 1 coffee pot with lid, 1 cream jug, 1 lidded sugar bowl, 7 cups, 7 saucers, 7 dessert plates. Shape: New cutout Decor: Number 111120 -...

Brass chandelier made in the 1880s in Vienna. A beautiful form body. Six flamed fitted with E14 sockets and an baroque cherub in the middle. Original condition.

Likely Italian, but possibly German origin - 19th century A pair of finely carved wood figures of Spanish Conquistadors or German Landsknecht. Each modeled in the Renaissance attire...

Decorate a game room or a study with this large and colorful pair of antique plaques. Crafted in southern Italy circa 1920, each bombe panel features "Trompe l'oeil" scrolled and sca...

Dutch four-drawer Baroque-style chest in trapezoidal form, featuring the characteristic serpentine front and sides, carved claw feet, and rocaille decorations on the curved apron. Th...

17th century painting J.Castano 17th century Spain

Introducing a remarkable 19th-century Catalan Spanish Baroque wardrobe, skillfully hand-carved from solid walnut and featuring Tuscan-inspired ...

Constructed entirely of a light oak, the table has a two board rectangular top above a conforming cabinet housing two hinged doors, the cabinet supported by trestle legs on elongated...

An exquisite pair of vibrant, 18th Century Brussels tapestry pillows in pristine condition with raw silk backing. Complimentary Shipping!  

Exclusive Louis XVI-Style Lantern – Handcrafted Masterpiece Step into the charm of a bygone era with our exclusive Louis XVI-style lantern. This new edition of our in-house product ...