Baroque Furniture

Italian School Sculpture "Hermaphrodite" 19th Century Carrara White Marble Group presented on a marble base Total height: 18 cm Width: 46.5 cm Depth: 25.5 cm good condition some defe...

This is a very beautiful pair of elegant dining chairs hand carved in solid oak. Their shapes are gorgeous and the proportions makes them an important presence in a dining room. Dee...

Italian baroque style walnut occasional table, made from antique and later elements, assembled circa 1920's. With an octagonal top with molded...

An impressive Baroque domed chest crafted from oak and adorned with intricate iron fittings. The chest bears the inscription: “Catharina Schlütters - Anno 1717 den 20. Septe(mber),” ...

A large two-door Baroque wardrobe crafted from solid oak in the 18th century. The wardrobe features a strongly profiled base zone and doors with intricately designed paneling, with t...

A nicely carved Spanish Baroque style carved oak armchair with detailed scroll carved crest, decorative arms, carved corner figures, foliate carved front stretcher, Spanish feet, and...

A very fine and Monumental French 19th century patinated bronze group Titled "The Abduction of the Sabine Women" after a model by Pierre Loison (French, 1816-1886), depicting a young scantily maiden being carried away on the arms of a Roman soldier, raised on circular ebonized wood and brass revolving pedestal stand. Signed at the base: P. Loison, circa: Paris, 1870-1880. Overall height (Sculpture and Pedestal): 91 inches (231.2 cm). Sculpture height: 54 3/4 inches (139.1 cm). Sculpture width: 24 inches (61 cm). Pedestal height: 36 inches (91.5 cm). Pedestal width (Widest): 25 1/2 inches (64.8 cm). Pierre Loison was a French sculptor of the 19th century born in the seaside town of Loir-et-Cher on July 5, 1816 and died in Cannes on February 3, 1886. In 1841, he joined the Pierre-Jean David d'Angers workshop where he became one of his favorite pupils. A year later he attended the School of Fine Arts in Paris. He exhibited for the first time at the Salon des artistes Français where in 1845 he was awarded third-class medal. In 1853 he was awarded First Place medal and at the Universal Exhibition of 1955 he received an honorable mention and another medal award in 1859. On 12 July 1859 and by decree, he was made "Chevalier de la Légion d’Honneur". Pierre Loison is buried at The Montparnasse Cemetery in Paris. Works by Pierre Loison "Femme assise": Terre cuite (1843) au musée Gustave-Moreau à Paris "Jeune fille portant un vase": Statue en marbre blanc, (h. 1,25 m) datée de 1857 et présentée au Salon de 1859 ; la statue fut d’abord placée au Palais-Royal (appartements du prince Napoléon) ; elle est actuellement au musée des Beaux-arts de Dole ; une réplique de taille réduite est au Musée des arts décoratifs de Paris. "La Halle aux grains de Mer": Chaque façade de ce bâtiment, classé à l’inventaire supplémentaire des monuments historiques, comporte un fronton triangulaire et celui de la façade ouest représentant « L’Agriculture distribuant des couronnes aux enfants de Beauce et de Sologne » a été sculpté gracieusement par P. Loison, natif de la commune. "La Justice assise": Allégorie de la Justice au fronton du Palais de justice de Blois (1847). "Buste d’Achille Fould": Au musée du Château de Blois 8; "Nausicaa": Statue en plâtre présentée au Salon de 1874, au musée des Beaux-arts de Vendôme. "Statue de J-B. Pigalle sur la façade de l’hôtel de ville de Paris "Sculptures extérieures du Palais du Louvre": Pierre Loison est l’auteur de neuf statues qui décorent les façades du Louvre "Figure" (1878) au deuxième étage du Pavillon Marsan10; "La Navigation" (1868) sur la balustrade du premier étage du Pavillon des États11; "Pandore" (1861) sur l’aile Est12; « Vénus » (1865) Aile Marsan13; "l’Histoire et la Vérité" (1857)14; "La Poésie et la Philosophie" (1857)15 deux oculi du Pavillon Mollien, coté cour Napoléon ; "Concordet" (1857) sur la balustarde du premier étage de la Rotonde de Beauvais, coté cour Napoléon. "Statue de Sappho sur le rocher de Leucade : datée de 1859, (h. 1,85 m) sur la façade nord de la cour carrée du Palais du Louvre à Paris ; le modèle en plâtre, offert par Mme Loison, est au musée des Beaux-arts de Blois. "Vierge à l’enfant": Statue en marbre en l’église Saint-Pierre de Dampierre-en-Yvelines. "Jeune romain enlevant une Sabine": Groupe présenté au Salon de 1863 qui a été reproduit en bronze par la fonderie d’art Raingo frères. "Sépulture de la famille Hautoy : Au cimetière du Père-Lachaise, deux bas-reliefs en marbre représentant l’un "La vie de Famille," l’autre 'Le chantier," datés de 1880. "Demoiselle d’honneur de la Cour de François Ier": Statue en pierre exposée au Salon des artistes vivants en 1870 ; acquise par l’État à ce Salon, elle a été déposée en 1891, devant la mairie d’Aubin. "La Paix distribuant des palmes aux génies des Beaux-arts": Fronton du Château de Compiègne (1866). "Daphnis et Naïs": Groupe en marbre (1869) au musée de Picardie à Amiens. "Jean-Baptiste Pigalle": Statue en pierre (1881) sur la façade principale, au rez-de-chaussée de l’Hôtel de ville de Paris. "Gisant de Ferdinand-Philippe d'Orléans: dans la chapelle royale de Dreux en collaboration avec Ary Scheffer. "La Grace": Statue en marbre (1875) dans le grand foyer de l’opéra Garnier. The Abduction of the Sabine Women The Abduction of the Sabine Women is an episode in the legendary history of Rome, traditionally dated to 750 BC, in which the first generation of Roman men acquired wives for themselves from the neighboring Sabine families. Recounted by Livy and Plutarch (Parallel Lives II, 15 and 19), it provided a subject for Renaissance and post-Renaissance works of art that combined a suitably inspiring example of the hardihood and courage of ancient Romans with the opportunity to depict multiple figures, including heroically semi-nude figures, in intensely passionate struggle. Comparable themes from Classical Antiquity are the Battle of the Lapiths and Centaurs and the theme of Amazonomachy, the battle of Theseus with the Amazons. The Abduction is supposed to have occurred in the early history of Rome, shortly after its founding by Romulus and his mostly male followers. Seeking wives in order to found families, the Romans negotiated unsuccessfully with the Sabines, who populated the area. Fearing the emergence of a rival society, the Sabines refused to allow their women to marry the Romans. Consequently, the Romans planned to abduct Sabine women, during a festival of Neptune Equester and proclaimed the festival among Rome's neighbours. According to Livy, many people from Rome's neighbours including folk from the Caeninenses, Crustumini, and Antemnates, and many of the Sabines attended. At the festival Romulus gave a Signal, at which the Romans grabbed the Sabine women and fought off the Sabine men. The indignant abductees were soon implored by Romulus to accept Roman husbands. Livy says Romulus offered them free choice and promised civic and property rights to women. According to Livy, Romulus spoke to them each in person, declaring "that what was done was owing to the pride of their fathers, who had refused to grant the privilege of marriage to their neighbours; but notwithstanding, they should be joined in lawful wedlock, participate in all their possessions and civil privileges, and, than which nothing can be dearer to the human heart, in their common children." Responsibility of the men for meeting the needs of the children thus conceived was not included. War with the Sabines and other tribes Outraged at the occurrence, the King of the Caeninenses entered upon Roman territory with his army. Romulus and the Romans met the Caeninenses in battle, killed their king, and routed their army. Romulus later attacked Caenina and took it upon the first assault. Returning to Rome, he dedicated a temple to Jupiter Feretrius (according to Livy, the first temple dedicated in Rome) and offered the spoils of the enemy king as spolia opima. According to the Fasti Triumphales, Romulus celebrated a triumph over the Caeninenses on 1 March 752 BC. At the same time, the army of the Antemnates invaded Roman territory. The Romans retaliated, and the Antemnates were defeated in battle and their town captured. According to the Fasti Triumphales, Romulus celebrated a second triumph in 752 BC over the Antemnates. The Crustumini also started a war, but they too were defeated and their town captured. Roman colonists subsequently were sent to Antemnae and Crustumerium by Romulus, and many citizens of those towns also migrated to Rome (particularly the families of the captured women). The Sabines themselves finally declared war, led into battle by their king, Titus Tatius. Tatius almost succeeded in capturing Rome, thanks to the treason of Tarpeia, daughter of Spurius Tarpeius, governor of the citadel on the Capitoline Hill. She opened the city gates for the Sabines in return for "what they bore on their arms", thinking she would receive their golden bracelets. Instead, the Sabines crushed her to death with their shields, and her body was thrown from a rock known ever since by her name, the Tarpeian Rock. The Romans attacked the Sabines, who now held the citadel. The Roman advance was led by Hostus Hostilius, the Sabine defence by Mettus Curtius. Hostus fell in battle, and the Roman line gave way, They retreated to the gate of the Palatium. Romulus rallied his men by promising to build a temple to Jupiter Stator on the site. He then led them back into battle. Mettus Curtius was unhorsed and fled on foot, and the Romans appeared to be winning. At this point, however, the Sabine women intervened: [They], from the outrage on whom the war originated, with hair dishevelled and garments rent, the timidity of their sex being overcome by such dreadful scenes, had the courage to throw themselves amid the flying weapons, and making a rush across, to part the incensed armies, and assuage their fury; imploring their fathers on the one side, their husbands on the other, "that as fathers-in-law and sons-in-law they would not contaminate each other with impious blood, nor stain their offspring with parricide, the one their grandchildren, the other their children. If you are dissatisfied with the affinity between you, if with our marriages, turn your resentment against us; we are the cause of war, we of wounds and of bloodshed to our husbands and parents. It were better that we perish than live widowed or fatherless without one or other of you." The battle came to an end, and the Sabines agreed to unite in one nation with the Romans. Titus Tatius jointly ruled with Romulus until Tatius's death five years later. The new Sabine residents of Rome settled on the Capitoline Hill, which they had captured in the battle. Artistic representations: The Rape of the Sabine Women by Johann Heinrich Schönfeld The subject was popular during the Renaissance as symbolising the importance of marriage for the continuity of families and cultures. It was also an example of a battle subject in which the artist could demonstrate his skill in depicting female as well as male figures in extreme poses, with the added advantage of a sexual theme. It was depicted regularly on 15th-century Italian cassoni and later in larger paintings. A comparable opportunity from the New Testament was afforded by the theme of the Massacre of the Innocents. Giambologna The sculpture by Giambologna (1579–1583) that was reinterpreted as expressing this theme depicts three figures (a man lifting a woman into the air while a second man crouches) and was carved from a single block of marble. This sculpture is considered Giambologna's masterpiece. Originally intended as nothing more than a demonstration of the artist's ability to create a complex sculptural group, its subject matter, the legendary rape of the Sabines, had to be invented after Francesco I de' Medici, Grand Duke of Tuscany, decreed that it be put on public display in the Loggia dei Lanzi in Piazza della Signoria, Florence. True to mannerist densely packed, intertwined figural compositions and ambitious overinclusive efforts, the statue renders a dynamic panoply of emotions, in poses that offer multiple viewpoints. When contrasted with the serene single-viewpoint pose of the nearby Michelangelo's David, finished nearly 80 years before, this statue is infused with the dynamics that lead towards Baroque, but the tight, uncomfortable, verticality— self-imposed by the author's virtuosic restriction to a composition that could be carved from a single block of marble— lacks the diagonal thrusts that Bernini would achieve forty years later with his Rape of Proserpina and Apollo and Daphne, both at the Galleria Borghese, Rome. The proposed site for the sculpture, opposite Benvenuto Cellini's statue of Perseus, prompted suggestions that the group should illustrate a theme related to the former work, such as the rape of Andromeda by Phineus. The respective rapes of Proserpina and Helen were also mooted as possible themes. It was eventually decided that the sculpture was to be identified as one of the Sabine virgins. The work is signed OPVS IOANNIS BOLONII FLANDRI MDLXXXII ("The work of Johannes of Boulogne of Flanders, 1582"). An early preparatory bronze featuring only two figures is in the Museo Nazionale di Capodimonte in Naples. Giambologna then revised the scheme, this time with a third figure, in two wax models now in the Victoria and Albert Museum, London. The artist's full-scale gesso for the finished sculpture, executed in 1582, is on display at the Accademia Gallery in Florence. Bronze reductions of the sculpture, produced in Giambologna's own studio and imitated by others, were a staple of connoisseurs' collections into the 19th century. Nicolas Poussin Nicolas Poussin produced two major versions of this subject, which enabled him to display to the full his unsurpassed antiquarian knowledge, together with his mastery of complicated relations of figures in dramatic encounter. One, now at the Metropolitan Museum of Art, was executed in Rome, 1634–35. It depicts Romulus at the left giving the Signal for the abduction. The second version, of 1636–37, now at the Louvre Museum, shows that, though some of the principal figures are similar, he had not exhausted the subject. The architectural setting is more developed. Peter Paul Rubens Peter Paul Rubens painted a version of the subject about 1635–40. It is at the National Gallery, London. Jacques-Louis David Jacques-Louis David painted the other end of the story, when the women intervene to reconcile the warring parties. The Sabine Women Enforcing Peace by Running Between the Combatants (also known as The Intervention of the Sabine Women ) was completed in 1799. It is in the Louvre Museum. David had worked on it from 1796, when France was at war with other European nations after a period of civil conflict culminating in the Reign of Terror and the Thermidorian Reaction, during which David himself had been imprisoned as a supporter of Robespierre. After David’s estranged wife visited him in jail, he conceived the IDEA of telling the story, to honor his wife, with the theme being love prevailing over conflict. The painting was also seen as a plea for the people to reunite after the bloodshed of the revolution. The painting depicts Romulus's wife Hersilia — the daughter of Titus Tatius, leader of the Sabines — rushing between her husband and her father and placing her babies between them. A vigorous Romulus prepares to strike a half-retreating Tatius with his spear, but hesitates. Other soldiers are already sheathing their swords. The rocky outcrop in the background is the Tarpeian Rock. John Leech The English 19th century satirical painter John Leech included in his Comic History of Rome a depiction of the Rape of the Sabine Women, where the women are portrayed, with a deliberate anachronism, in Victorian costume...

A palatially scaled and high quality Italian 19th century Baroque st. Giltwood and Gris St. Anne marble matching console and mirror. The stately oval shaped mirror with its original ...

Spanish church table or altar from the 19th century with wooden columns and top with a fine line of hand carved marquetry. An unusual shape with a nice shiny patina. Good size for...

Vintage Spanish Sgabello carved side chair or stool depicting the "Valencia" shield This chairs come from a Monte Picayo Casino, Valencia, Spain.

Important and beautiful Italian baroque mirror, handmade in golden wood with rich carved details. The mercury mirror is in very good conditions. The provenience is Venice (Venezia), ...

Pedestal table from the 40's, attributed to Maison Jansen, work in the taste of Robert Pansard. Painted and carved solid wood table top, superb eglomized glass top representing the s...

19th century carved walnut folding scissors Savonarola bench or settee featuring a gentleman in the back. Typical of the Italian Renaissance with carved Florentine backs (no shows in the picture) . This pair created in the 19th century, most likely 1840s-1850s, are in perfect condition. The Savonarola chair is a type of folding chair with an X frame when viewed from the front or back. It was designed to fold so it was portable and used during campaigns or other outdoor pursuits. The title Savonarola comes from the name of Italian Renaissance Dominican friar, Girolamo Savonarola, who is renowned for his clash with tyrannical rulers and corrupt clergy. To fold this interestingly beautiful chair you must first remove the back rail which simply slides upward out of slots in the arms, then push the arms together to fold. This pair would make perfect hallway or entryway chairs...

An eight-arm Marie The´re'se style crystal chandelier, Austria, circa 1910. The pear-shaped frame supports four arms that folk into two, holding altogether eight lights. The frame is...

European 19h Century jewelry box with a green patterned fabric insert. This wood box is handcrafted in a faux bois style with brass hardware and etched mirror glass inside. The cond...

17th Century obelisk-shaped table clock Italian, 17th Century Height 28cm, width 9cm, depth 7cm A stunning piece from the 17th century, this table clock is a precious element of horological artistry and mechanical innovation. Encased in gilt and glass, the delicate clock is shaped akin to an obelisk, an intriguing symbol that lends a striking visual appeal. The foundation of the timepiece is a gilt brass and...

These pair of globes, dated 1730, are original and in fine condition. Title: Globus terrestris novus Loca Terrae insigniora sec. praestant Astron. et Geogr. observationes sistens op...

Italian solid silver table mirror in baroque style. The frame is shaped, with a scroll design typical of the baroque style. The mirror was made with a double sheet of embossed metal....

Louis XV-style Ormolu-Mounted and Fleur de Pêcher Marble Cassolets by Jollet & CIE Each with the stamp 'Jollet et Cie, Ave. Mon Colin A Paris' to the und...

Our “BALAUSTRA” table line: Hand-crafted with aged Italian walnut and artfully finished in the classic Italian shellac manner by our Master Craftsmen in Italy, this Balaustra coffee...

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...

The Netherlands Rotterdam Circa 1725 – 1775 A manganese tile panel of two tiles, probably the base of a pillar, with the decoration of a liquor seller, and by the look on his face h...

A true masterpiece of historical elegance fused with contemporary artistry, the Limited Edition King Umberto Skull Polonaise Rug by Knots Rugs reimagines one of the most celebrated 1...

17th Century English School Portrait of Elizabeth Kinnersley Oil on canvas, 114.5x93cm; work without frame good conditions

A fine early 18th century English oak low dresser, having a molded top over three inlaid drawers over lovely scalloped apron with whale's tail ...

Rare French antique giltwood mirror, wedding mirror late 19th century. Carved wood, composition garlands of flowers, gilded in fine gold (Original gildi...

A massive 3ft 9" high, pair of Baroque-style, Chinese porcelain blue and white vases and covers possibly originally part of a large garniture - This rare pair of striking, vases are highly decorative statement pieces creating gravitas within any interior - From the early 1600s Chinese porcelain was highly valued and displayed as a statement of wealth, status and refinement in the houses of the aristocracy and elite society - Surviving examples of 17th and 18th floor standing, garniture sets are very rare, there is an early set at Woburn Abbey...

A rare decorative gilt-wood hand carved painted Baroque style 19th century French fireplace mantel -- finely carved detailed shell...

The table base is in solid silver 925°°/°°° gr. 6.000 in Italian Baroque style bearing the typical embossed and chiseled shells, with three layers of leaves and ovules. The central s...

17th century Italian walnut buffet-cabinet, probably Tuscan c.1680

The pair of antique baroque style handcrafted iron sconces are decorated with various forms of leaves and are secured by brackets, each with a hole at the top for attaching a screw o...

This elegant armchair exudes classic gravitas, with scroll arms, fall turnings and triple toe feet The tapestry back depicting Flora underneath a bower is a distinctive feature. It...

This type of centerpiece was very much in vogue in the prestigious and aristocratic houses of the 1700s. It was used to contain fruit or be decorated with floral compositions and po...

Early 20th Century Spanish Carved Walnut Side Table with One Drawer, 1940s Spanish side table from the early 20th century with a drawer and iron fittings. Beautiful table that you ca...

Nicely walnut religious vitrine with painted accents and dome top. Interior is painted in green, used as a tabernacle in a church or chapel.

A large and stunning antique French Baroque drum head clock. Beautifully modelled in gilt bronze, the clock sits upon a a cushion shaped base with mythical creatures forming the feet...

Wonderful 19th century silver plate plateau has a rich floral embellishment with circular mirror. The beautiful patina adds to the look of this an...

France Late 18th century silver carriage shape box in Regency Style This magnificent piece of art of silver jewelery. It is an example of h...

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

This listing features a French Empire style mantel clock along with two matching urns. Also known as Neoclassical style, French empire style was a widespread and influential movement...

With three board rectangular top raised on scroll cut legs joined by wrought iron stretchers.

Oval photograph frame, shaped edge in sterling silver 925/1000 gold plated with fine hand engraving, interspersed with black fired enamel in Baroque style. External cm. 7.4 x 11.3. W...

Rectangular top with pull out extensions over a frieze containing drawers at each end with heart cut out decoration , raised on turned legs and joined by shaped upper stretchers and ...

Hand-carved circa 1750 in Italy, this Baroque giltwood cartouche mirror features a shaped piece of glass surrounded by a lovely golden cartouche with pierced elements. Inspired by na...

A Spanish neoclassical period walnut side table from the early 19th century, with richly carved décor and pink marble top. Born in Spanish during the early years of the 19th century,...

A spectacular hand etched Venetian mirror.

This Modenese Gastone Luxury Interiors item has been precisely conceived for CEOs and presidential offices. Its unique class and sense of power represent the perfect solution for lea...

Two marble angel heads with curly hair and hints of wings, designed in the opposite style.

A Large Pair of Italian Carved Gilt Wall Brackets These are a beautifully carved pair, Winged Griffins with breasts, piercing expression in...

The Pair of 19th Century Italian Baroque Style Wood Carved Consoles are a testament to the era's opulence and artistic mastery, boasting a stunning array of intricate details. Crafte...

A stunning and most decorative Continental early 19th century Baroque st. Tortoiseshell and Ebonized Fruitwood mirror. This wonderful rectangular mirror retains its original beveled ...

Title: Italian iron and marble table Date/Period: XX century Dimension: 51cm x 111cm x 51cm Materials: iron and marble. Additional information: Original Italian table from the 900´s ...

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...

This pair of oak cherub brackets, or “consoles murale” originate from France and date to the mid-19th century. The intricate carvings adorning these mar...

Beautiful set of 4 hand-carved wood sconces made in Italy in the early 20th century, depicting bunches / baskets of flowers, leaves and fruits, in the style of Maison Jansen. Hand-pa...

Preserved Vintage Chandelier: A Glimpse into 1950s Elegance Step back in time with our authentic circa 1950 chandelier that has been meticulously preserved. With renewed cabling and...

Fine French Louis XIII armchair. Made in the 17th century from walnut and equipped with hidden out sliding tray supports as a extra feature. We restored this armchair and reupholster...

A very large and fabulous 1930s water gilded sunburst flush mount. Hand crafted wooden rays surround the single lamp holder to the centre, originally from a church in Germany this pi...