Baroque Furniture

This early 17th century English needlepoint pillow is worked in wool and silk and presents an intricate orchard scene characteristic of Engl...

Gorgeous gold leaf giltwood sunburst mirror, Spain,1940-1950. This sunburst wall mirror manufactured at the Mid-Century Modern featuring a richly carved frame in sunburst shape. Bar...

A Late 17th-Century Spanish Wood Sculpture of a Penitent Saint Jerome Possibly Seville, circa 1680 A powerful and expressive carved wood sculptu...

An antique Baroque period European Medieval style six piece collection of rare and most unusual hand carved giltwood architectural elements with beautiful rich patina. circa 1700s ...

An antique pair of Portuguese Baroque hand carved architectural wall reliefs, enhanced by richly ornate detailed scrolls, in good condition. Original painted patina with partial gilt...

This 17th century Brussels tapestry pillow fragment features a rare figural composition depicting a bird in motion set within a softly rendered landscape. Executed in the Baroque sty...

ANTIQUE 19TH CENTURY PLASTER OF THE DIANA OF GABI FROM THE LOUVRE Ancient plaster with identical measurements to the original Greek marble exhibited at the Louvre. Diana of Gabi, di...

HOLY FAMILY European school of the 18th century. Oil on canvas, Relined. Dimensions: 74 x 60 cm with frame: 84cm x 70cm Good condition

An original hand-colored botanical engraving from Basilius Besler’s Hortus Eystettensis, published in Nuremberg in 1613. Executed at the transition between Renaissance naturalism and...

Italian 17th century still life painting in period carved gilt frame Italian school still life painting from the workshop of a great master. The 17th century Baroque painting in oil...

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

“Vernazza” 3-drawer dresser - The Italian Art & Handcraft of fine custom antique reproduction. Available in custom size and configuration - handmade to order in Italy. Shown in c...

18th Century Italian Walnut Armoire Piedmontese Baroque Wardrobe from a Tuscan Villa collection. This authentic 18th-century Italian walnut armoire represents the pinnacle of Piedmon...

A finely carved Spanish Baroque crucifix dating from the late 17th to early 18th century, featuring a sensitively modelled figure of Christ in carved and polychromed wood. The corpu...

Italian fall front desk with burl wood inlay. With six drawers and two hidden storage areas. The top of this desk is 18th century, while the base, beau...

Bargueño. Tortoiseshell, rosewood, walnut, gilt bronze, wrought iron. 17th and 20th centuries (table). A display desk made of wood, with a projecting central section featuring an ar...

Pier Francesco Cittadini (Milan, 1616-Bologna, 1681) "Jacob and his family go to Egypt" Oil on canvas, cm 109 x 190 (canvas only) The valuable painting, made in oil on canvas, depicts Jacob and his family go to Egypt and we believe it can be, given the high quality painting, autograph work of Italian Pier Francesco Cittadini (Italy Milan, 1616 - Bologna, 1681) made after 1647. The work, in excellent condition is accompanied by a coeval frame in wood finely carved and golden. The scene depicted, which was confused with the Flight to Egypt in the past years, is instead identified with the biblical episode of Jacob’s journey. In the foreground, reading the painting from left to right, we see a caravan composed of animals, including donkeys, dromedaries, goats, dogs and horses and people, women, men and slaves, who carry on their journey along the banks of a river, following a path that to the right, would seem to lead to the through of a bridge. In addition to the watercourse is described an environment characterized by large rocks and impervious come far to cover the entire verticality of the canvas. On the left, in the distance, we see the tail of the caravan that runs along the steep path. Large trees enliven and harmonize the environment, as well as white and grey clouds characterize the predominantly clear sky and illuminated on the right by sunlight. The story is told in the Bible, Book of Genesis, 30, 25, passage in which is described the flight of Jacob from Haran after the contrasts with Laban, father of his wife Rachel. Jacob is the third great patriarch of the Bible. From his descendants originate the twelve generations of the people of Israel. He is the son of Isaac and Rebekah, who led him to flee from the wrath of Esau to Haran to seek refuge from his brother, Laban. At his uncle’s house Jacob met his daughter Rachel. As soon as he saw his cousin, Jacob was taken. Jacob will stay seven years in the service of Laban to marry his beloved Rachel. But Laban, with a deception, will give him in marriage first Lia, the least beautiful eldest daughter, and only after another seven years the splendid Rachel. From his first wife he will have several children, while Rachel will give birth to the beloved son, Joseph, who will become viceroy of Egypt. After years of service, Jacob asked to be paid with every dark-coloured garment among the sheep and every spotted and dotted garment among the goats. Laban accepted and sent away from his sons all the leaders of that kind. So Jacob took fresh branches of poplar, almond and plane tree, and flayed them, and put them in the troughs. The optical suggestion induced the goats and the sheep to conceive and give birth to dark, striped and dotted garments. He also ensured that all the strongest and healthiest leaders of the flock of Laban would drink near the barked branches, thus assuring a genetic superiority to his part of the flock. His flocks grew numerous and strong and he became richer than his relative, arousing envy. It was clear that Laban would not respect him much longer. At the suggestion of the Lord, Jacob decided to return to Canaan. Trying to avoid any possible dispute, he left with his family while Laban was absent for shearing sheep. But when, three days later, his uncle returned home, he became angry, feeling offended because Jacob had gone secretly and had not allowed him to greet his daughters and grandchildren. In addition, his teraphim, statuettes, or idols, which depicted the family deities, had disappeared. After 7 days of pursuit, Laban and his men reached Jacob’s group on Mount Gilead, in the mountainous region west of the Euphrates River, where his uncle and grandson had a stormy conversation. The younger man was outraged at being accused of stealing idols and told Labano to rummage through his family’s tents at will. Neither of them could know or even imagine that it was Rachel who took the idols and hid them in the saddle of the camel. During the search, she sat down firmly on the saddle, apologizing for not being able to get up, «because I usually have what happens to women» (Gen 31:35). So the loot wasn’t discovered. The author of this work was inspired by the composition of an engraving by Stefano Della Bella (1610-1664) of circa 1647. The engraving by Stefano della Bella bears the title "Iacob sur ses vieux jours quitte sans fascherie pour voir son filz Ioseph, sa terre et sa patrie" and is signed on the bottom left "Stef. of the Beautiful In. et fe." while on the right it is declared "Cum privil. Regis", that is with license of the king. Stefano Della Bella (Italy - Florence, May 18, 1610-Florence, July 12, 1664) was born in a family of painters, sculptors and goldsmiths and was left early orphan of his father sculptor, he dedicated himself first to the art of goldsmith at the school of Giovanni Benedetto Castiglione and Gasparo Mola, then turning his attention to drawing and engraving. He soon began drawing figures and copying the etchings of Jacques Callot, which inspired his early works. Under the protection of the Medici, in particular of Don Lorenzo, cadet son of Grand Duke Ferdinand I, Della Bella has the opportunity to make study trips to Rome, where he stayed from 1633-1636; In Rome he met French engravers and publishers of prints such as Israël Henriet and François Langlois, who influenced his decision to move to Paris in 1639, four years after the death of Callot. In Paris he soon reached, thanks to the engravings commissioned by Cardinal Richelieu, the success also worldly; he frequented courtiers, theatre artists and writers, while refusing too oppressive honors. In 1646-1647 he continued his travels in the Netherlands to Amsterdam, Antwerp and Dordrecht. He returned to Florence in 1650 and resumed working under the protection of the Medici court, working for his patrons. In 1656 he became a member of the Academy of Apatists. The painting object of this study is reasonably attributable to Pier Francesco Cittadini, or Pierfrancesco Cittadini, called the Milanese or the Franceschino (Italy - Milan, 1616-Bologna, 1681) as some exemplary stylistic comparisons proposed to follow can prove. Pier Francesco Cittadini was an Italian baroque painter, mainly active in Bologna. His artistic training first took place with the painter Daniele Crespi...

A fine matched pair of antique Delft Chinoiserie plates. In tin glazed blue and white Dutch Delft pottery. The center with blue underglaze floral decoration and the rim with white ...

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...

Impressive Baroque wardrobe from Germany, dated 1747. This exceptional cabinet is crafted from solid oak with beautifully contrasting walnut inlays in the door panels, showing subtle...

A refined walnut display sideboard in the Tuscan Barocchetto style, created by Michele Bonciani, a distinguished 20th-century cabinetmaker from Cascina. This elegant piece dates to ...

What a fantastic looking white washed Belgian trestle dining table. This is perfect for a smaller dining area or kitchenette. White washed by master artisans in Belgium to perfection...

Delft Vases Dutch tinglazed pottery polychrome decor. The set contains 1 covered baluster vase and two trumpet / beaker vases. Origin: The Netherlands 1940s Colours; Green, Iron re...

A beautiful and rare "Bombée" chest of drawers in original condition, made in Stockholm ca 1750. A moulded serpentine rectangular top above three long drawers, shaped apro...

**Pair of Early 18th Century French Cast Brass Chamber Candlesticks, Circa 1710-1720** A superb matched pair of Louis XV chamber candlesticks, masterfully cast in brass with exqui...

Eleanora & M. Magdalena Dei Medici Wax Portraits on Slate Measures: 4.5" DA 18th Century or Earlier Wax Portraits of Eleonora de' Medici and Maria Magdalena de' Medici in Ormo...

19th century Italian hand carved walnut Savonarolas chairs, circa 1880. Having wonderfully carved frame with scrolling arms, aged black tooled leather seat and back, accented with br...

A sensational and large scale pair of Italian 18th century Baroque Cassapanca polychrome benches. Each beautiful and statement making bench is raised by elegant curved supports with ...

A beautiful vintage handwoven tapestry featuring a unique abstract Art Nouveau design with a rich and dynamic color palette. This circa 1950 piece showcases artistic geometric elemen...

A Spanish Baroque Style Walnut Side Table, 18th Century Description: A substantial single plank top over a moulded frieze comprising two panelled drawers, each with a pair of carved...

An elegant pair of silver gilt wall sconces hand-crafted in France in the 20th century. Each of these lustrous sconces features beautiful hand-carved shell motifs at the pediment, sc...

Octagonal, notched photo frame in 925/1000 sterling silver gold plated with fine Baroque-style engraving and fire-enameled finish. External dimensions 8 x 11 cm, oval interior 4.7 x ...

Large Antique Bronze Letter bell weight or dumbell 1 lbs.

Antique Swedish baroque centre table in pine. The table is originally from northern Sweden and has wonderful proportions with the four turned legs...

This magnificent Italian 17th-century solid walnut chest of drawers (canterano), is a testament to the craftsmanship of Roman Baroque and Louis XIII reign splendor. Believed to hav...

Triple Layered carved wood sunburst mirror, Spain, 1930s. The three layers of rays surounding the central round glass highlight its beauty. This wall mirror has a terrific aged pa...

I8th C Style Paul Ferrante Italian Baroque Giltwood Mirror

Dipinto Fiammingo del 1600 a olio su rame raffigurante uno scorcio di paesaggio con figure, una scena di genere con una moltitudine di personaggi affollati in una strada con delle ar...

A very fine pair of palatial Venetian walnut carved mid-19th century Baroque figural throne armchairs, 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. Provenance: The Castello di Giove in Umbria, Italy, circa 1870-1880. Height: 54 1/4 inches (137.8 cm.) Width: 37 1/4 inches (94.6 cm.) Depth: 32 inches (81.3 cm.) 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 1678-80 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 eighteenth 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 exceptional 17th century Flemish tapestry pillow is crafted from an authentic fragment of an early Baroque wall tapestry woven in Flanders. The front displays richly detailed bo...

Swedish Baroque Brass Office Candlestick, Early 18th Century Elegant and functional early 18th-century Swedish office candlestick in brass, crafted in the Baroque period. This rare...

Swedish Baroque cabinet from the mid-18th century, crafted in pine, beautifully painted in light grey tones with blue-grey marbled panels and drawer fronts. Lovely patina. The cabi...

Original Baroque Chandelier from around 1860 – Fully Restored and Working For sale is a majestic chandelier from around 1860, crafted from high-quality brass and adorned with sparkl...

Russia / 19th century / Icon of The Presentation of Our Lord / wood / Religious This exquisite 19th-century Russian icon depicts The Presentation of Our Lord, a central feast in the...

Very interesting 18th century Spanish ceramic wine or oil storage jar with wonderful olive green glaze with raised leaf and floral design ...

"Corpus Of Christ (indo-portuguese, Circa 1660–1700)" Corpus of Christ (Indo-Portuguese, ca. 1660–1700) Corpus of Christ in Polychromed Wood Goa, Indo-Portuguese, late 17th century C...

Set of 6 paintings attributed to the Cusco School, 18th–19th centuries Series of six small-format oil paintings on canvas, attributed to the Cusco School, 18th–19th centuries. They ...

Spanish Baroque Style Giltwood Sunburst Mirror , 1940s Stunning Baroque style carved giltwood sunburst mirror with gold leaf finish. This gorgeous starburst /sunburst mirror has a f...

This antique Baroque period oil on canvas painting, is an authentic 1600s Italian School Allegory of Winter featuring putti and cherubs in a rich still life, and housed in its original golden frame, is a rare masterpiece preserved in prima tela (original first canvas). Sourced directly from an exclusive, historic private villa in Tuscany, this exceptional piece has been meticulously preserved by the same noble family for generations. Emerging on the art market for the very first time, this late 17th-century canvas represents a premier acquisition from The Tuscan Villa Collection, offering absolute authenticity and prestigious provenance. Design, Details & Attribution The composition is a sophisticated allegorical study executed with the dramatic chiaroscuro and emotional depth characteristic of the late Italian 1600s. Four masterfully proportioned putti (cherubs) gather around a small fire, their flesh tones illuminated by a theatrical play of light against a deep, crepuscular Italianate landscape. To the right, a monumental Baroque urn overflowing with a finely detailed floral still life anchors the scene, symbolizing the cycles of nature. The dense brushwork, rich earthy palette, and expressive anatomical rendering point directly to a highly skilled hand active in the Italian Baroque School circa 1680-1710. Stylistically, the artwork shares strong affinities with the classicizing Baroque circle of Carlo Cignani and central Italian genre painters of the era. The canvas remains housed in its spectacular coeval original frame, which retains its genuine gold leaf gilding and a magnificent, deep, age-earned patina. Styling & Placement With its grand visual presence and historical importance, this authentic 17th-century canvas serves as an elite statement piece for high-end interiors. The Classical Anchor: Perfectly suited above an early 18th-century walnut console table or credenza in a formal dining room, entryway, or library, where the golden frame and warm tones create an immediate focal point. The Curated Contrast: Highly effective when placed in a minimalist, contemporary space. The juxtaposition of a genuine Baroque masterpiece against clean, modern architecture offers profound historical depth. Collection Harmony: This painting communicates beautifully with fine period furniture, particularly Biedermeier walnut pieces or Italian marquetry chests...

18th century Swedish Baroque drop-leaf table with preserved decorative painting. When the leaf is dropped, the table displays a striking half-moon profile, acting as a stunning conso...

A remarkably rare and masterfully executed antique French Baroque fragment/panel, masterfully hand-sculpted from solid oak and dating from the mid-17th century, circa 1650. Demonstra...

An exceptional early 17th century needlepoint tapestry pillow dating to circa ո՜1600 and depicting a richly composed figural and botanical scene. The imagery features a central styli...

An 18th-century Italian sculpture of a draped Madonna, masterfully carved in polychrome and gilded wood. The Virgin, gracefully veiled, holding the infant Jesus on her lap with a st...

19th-century baroque oak secretary with a newer professionally applied black painted exterior finish, lightly distressed to reveal natural wood beneath. The interior is painted a con...

This exquisite pair of 18th-century French Baroque armchairs stands as a testament to the grandeur of European artisanal heritage. Each chair features a stately, high-back silhouette...

A large and very fine Italian 19th century Florentine Baroque style giltwood carved wall console table with marble top. The ornately carved rectangular shaped scrolled body frame in ...

**Cherished Antique Chandelier - Lovingly Restored in Berlin** Introducing an exquisite antique chandelier that has been lovingly restored in Berlin. Its electrical wiring is compat...

4 Italian Venetian Murano oval wall mirrors with and etched floral and scroll design glass frame with four small applied glass panels around the border. (PRICED EACH)

English confectionery Goblet or cup featuring the shell of a coconut mounted into silver. In original untouched and superb condition. If desired, we offer to polish the silver pa...

Very beautiful italian medallion plaque in gilded and patinated bronze decorated in the style of pieces from the Northern Renaissance period. The pla...