Baroque Furniture

Large antique Italian Venetian Murano glass 6 scroll & swirl design arm chandelier with applied trim. Separate flower motifs and leaves. Gold dust inclusions. Similar to chandeliers designed by Fabiano Zanchi...

SHIPPING POLICY: No additional costs will be added to this order. Shipping costs will be totally covered by the seller (customs duties included). Hercules Resting from His Labors Red chalk on paper...

A Wooden Madonna with child Baroque art, Southern Italy, 17th century. Measure: H: 71cm Good condition for the time. With Export Certificate to USA.

Magnificent twin-arm bronze wall lamp imitates classic candelabra. Vintage. The design of the lighting fixture contains elements of the Baroque s...

Pair of Italian figures from a crucifixion group: Mary and John, 17th century. Italy Wood, fully carved, colored. Measure: H. 48 / 49 cm. Version partially rest. (old retouching)...

A beautiful pair of burin engravings depicting "Saint Bernardo degli Uberti" and "Saint Hilary of Poitiers" two of the patron saints of the city included in the base of the cupola ( dome ) of Parma cathedral frescoed by Antonio Allegri known as Correggio (Correggio, August 1489-Correggio 5 March 1534) between 1524 and 1530. Admirable work by the great master in which his genius as a forerunner of the Baroque is fully seen. In 1642 Giovanni Battista Vanni etched a series of fifteen plates from Correggio's frescoes. Giovanni Battista Vanni was born in Pisa around 1599; he studied successively under Jacopo da Empoli, Aurelio Lomi, and Matteo Rosselli, and then became a disciple of Cristofano Allori. He is better known as an engraver than as a painter. From 1624 to 1632, he lived in Rome, then returning to Florence after visiting Venice. In addition to the series of prints...

Inkwell. Glazed ceramic. Talavera de la Reina, Spain, 17th century. Inkwell or spice rack with a square shaped hole that is made of glazed ceram...

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...

Beautifully carved oak with original gilding with red bol showing through. With rectangular shelf over a scrolled volute and female face over scroll ...

Roman tub in terracotta. Late 19th century. Measures: Height 33 cm Width 43 cm Length 80 cm Weight 33 kg Manufacture tuscany Material impruneta terraco...

A decorative Italian 18th century Baroque period floor-standing torchière lamp. Wood carved rich in details and painted in green, giltwood an...

Striking Imari lobed plate with simple, bold ornamentation indicating it is an early piece. The centre with three stylised bonsai evoking the quality of reflection surrounded by a tr...

A stunning vintage small-scale Italian Baroque style gilt wood mirror, circa 1950. Marked "Made in Italy" on reverse. This fine mirror has a lovely shape and beautiful gilt patina wi...

Shaped snuffbox in 925/1000 sterling silver gold plated with fired enamel inserted in a fine hand engraving and with round miniature diameter cm. 3.3 hand painted always with fire enamels depicting a sailing ship. Early 19th century Viennese Baroque style. Fine hand engraving on all sides and bottom. Measurements cm. 7.5 x 7.5 x 2. Weight gr. 151. Designed by Franco Salimbeni in 1976 on inspiration of ancient original artifacts and manufactured in Florence at the Salimbeni company headquarters in several specimens, also with different colors and miniatures, with completely manual execution by artisan artists with thick slabs and large reinforcements suitable for supporting numerous high-fire enamelled firings at approximately 750 < 800° C. Miniature is a very ancient technique which consists of painting works in small proportions. It was born for the decoration of the first letter of the paragraph of the books. Over the years, however, this technique is refined and enriched, then moving on to precious personal items. Hand-painted miniatures can be done with multiple different techniques. The most important that we use on our articles are of three kinds: 1) Fire enamel. 2) Water tempera on an ivory plate. 3) Painted on mother-of-pearl. Fire enameled miniatures: On a first layer of enamel generally white or very clear or even transparent suitably liquefied at a temperature of about 750 ° C, the chosen subject is painted using miniature colors which are as many colored crystals, ground and reduced to a very fine, almost impalpable powder washed and purified in distilled water with the addition of small quantities of deoxidizing acids which, diluted with essential oils (usually essential oil of solder), can be mixed to form a palette of colors. With very fine sable hair brushes you draw the subject starting from the perimeter and then gradually adding various layers of color. It is necessary to carry out various firings very often so that the colors harden and are not absorbed by the underlying glaze as, during the subsequent firings at 750 ° C, during liquefaction, it would spread irremediably. Hence the need to form the painting a little at a time, cooking it numerous times. Therefore it is necessary to proceed with numerous retouching, often overlapping different colors that only the painter's experience knows. A beautiful miniature needs from 20 to over 50 firings and is finished when the painter deems he does not have to further intervene. Some colors must have darker tones than others because then, by superimposing the transparent enamel placed at the end of the miniature, they fade. This transparent layer, called “fondant” in jargon, must be smoothed and polished like all other translucent enamel colors. The miniatures with water tempera colors are painted on real ivory...

An exquisite Silver Sasanian Coin Depicting Xusro I ( circa 300AD) with Baroque South Sea Pearls in an 18K Gold Frame Brooch or Pin by the legendary jewelry designer Elizabeth Locke....

Carved with a distressed surface with paint losses in original condition. From the estate of Martin Trust, Boston and Palm Beach.

An 18th century Spanish baroque desk, or writing table made of solid Walnut Wood with turned legs joined by a Two drawers with original iron drawe...

Chest of drawers Veneto ( Italy ) 18th century Double move chest of drawers on the front in inlaid wood, veneered in briar and threaded. Veneto. 18th century Dimension 85x11...

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

This very rare and exceptional antique baroque hanging cupboard was made in central Germany in the early 18th century circa 1720. It was made from solid oak and pine and was painted ...

Baroque sculpture in walnut, central Italy 17th century. The male figure, created to be seen in an elevated position with respect to the observer and originally part of a larger scul...

An exquisite Dutch cushion cabinet with two doors and two drawer. This cupboard takes its name from the pillow-shaped thickenings on the doors. The doo...

Baroque-style circa 20th century bronze colored brass two-light girandole mirror. The oval shaped mirror with pierced scrolled acanthus cresting and flanked by pilasters and flora...

Exceptional early 18th century Swedish Baroque commode in walnut signed by Johan Hugo Furloh (master cabinet maker in Stockholm 1724-1745) grea...

Fine and very rare pair of early 18th century Swedish Baroque chairs in their original finish, circa 1700 Sweden. Leather is original with some ...

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 ...

A pair of beautiful French oil on board paintings from the 1700s depicting interior scenes with characters portrayed while eating and drinking seated at a tavern table. Stunning contemporary gold leaf...

Column support for statues and vases Ricceri. Square column in terracotta end 19th century. To be used as a support for vases, busts, sculptures etc. From a cast of the ancient ...

Large wooden Baroque-style pedestal dining room table with one leaf by Fremarc. Leaf included measures 18” in width and 44” in depth. Table with leaf in measures 62” in width. Table ...

TOND OF GIULIO CESARE IN IMPRUNETA TERRACOTTA early 20th Century Beautiful, hand-finished large tondo in Impruneta terracotta. Copy of a roundel...

Mesmerizing French still life oil painting on board. The midcentury painting depicts a pheasant on a tablecloth with green cabbage. Amazing detail and brushwork set in a distressed g...

Wonderful print of Sir Thomas Fairfax Copper-plate engraving by Engleheart after Bowers Published by Edward Jeffrey. Dated 1808 Unframed. .

A handsome over 200 hundred year old rustic Spanish Baroque oak paneled cabinet with nicely aged warm rich dark patina. circa 1775 Hand-crafted in Spain in the 18th century, possibly very early 19th century. Large two-piece solid wood construction, having a stepped molded cornice, over rectangular case fitted with two upper and two lower cupboard doors, opening to spacious shelved interior, three middle drawers with hand cut dovetail joinery, affixed with the original pulls, decorated with hand carved foliate motifs and raised paneling, rising on bun feet. A wonderful example, sure to add authentic antique character, rich historical depth, elegant rustic warmth, and old world European charm to any space! Dimensions (approx): 77.5" Tall, 57.5" Wide, 20.5" Deep As warm and attractive as it is useful, having the ideal large size and substantial proportions for a variety of different uses, with outstanding patina throughout, and offering abundant storage options, this magnificent example would make for a wonderful country farmhouse kitchen cupboard, Mediterranean Revival sideboard buffet, Southwestern Santa Fe ranch armoire, primitive China cabinet...

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,...

Italian oil on canvas from the 1700s depicting a landscape with characters, a waterfall and a city view with mountains in the background. Without frame Origin: Italy Period:...

Italian console in carved wood Veneto 18th century in carved wood with veneered and threaded top. Veneto. 18th century. Dimension 78x122x55 cm ca. Very good condition.

Hand pounded and cut silvered tole, 12 light chandelier from the area of Florence. Floral and foliate decoration with wax candle sleeves. Wired for US.

Beautiful, small scale Italian gilt-iron and crystal beaded chandelier. The chandelier features a scrolled iron frame in a dark bronze paint finish and crystal decorations. The chandelier is wired and in working condition, it requires 3 Edison bulbs. New faux wax candle sleeves. 36” inch chain...

A set of eight finely carved and gilt dining chairs, all finely distress paint decorative with original horsehair seats. Each alternating chair measures 18 in W, 43 in H, 15 in D. wi...

This late 17th century Franco-Flemish verdure tapestry, signed RAET, worked in fresh colors, depicting animals in a wooded river landscape with a bird of prey attacking a rabbit in t...

Spectacular Italian oil on canvas from the 1700s, depicting a landscape with a forest, a stream with a small waterfall, horseback riders, and a traveler at twilight. Origin: Italy...

Venetian style dolphin and clam wall decor set from the 1960's in silver leafed resin with hand painted gold highlights. Together, they make a striking baroque focal point in any roo...

Antique bathtub in Carrara white marble with rings 18th century Height 60 cm Width 76 cm Length 176 cm Internal depth of the basin 50 cm Weight 300 Kg ...

A highly decorative painted and gilded display pedestal with a circular stand at the top, above a profusely carved column and standing on a triform base with figural heads and scroll...

A rare, round, hand carved walnut center table with lapis veneer inlaid top surrounded by etched gilded bronze banding.

Amazing torso gaddi in white Carrara marble end 19th/ 20th century. Italy Male torso of centaur from the 2nd century BC. Called "Torso gad...

Wall mirror 18th century Portuguese, frame in chestnut wood with carvings. Small defects. Dimension: 103 x 67 cm. Good condition.      

Palazzi of Sicily by Angheli Zalapi Hardcover. This book is the first to trace the evolution in style of the fabulous homes that have been built on the island of Sicily, from feudal...

High relief in white Carrara marble, Representing the scene of the Rape of Proserpina by the god Pluto. Dimensions: 83 x 46 x 5cm. Weight kg 5...

This beautiful Pair of Early 19th Century Wood Columns Lacquered in Faux Marble has been made around 1800. They are in a beautiful original c...

Sculptural large pair of antique Baroque Style Acanthus leaf sconces, Germany or Italy around 1900 to 1920. The expressive and vividly hand-carved...

Pair of French Porcelain vases end 19th century/early 20th century French, marked on the base, mouthpiece with relief decoration of leaves on a bulging body supported by a square base with four gilded...

Baroque style gilt wood mirror, mid 20th century.

Mid century tall Italian animal figurine Ceramic decorative Turkey Tureen with ladle Vitrine object Material: porcelain, ceramic, tin glazed earthenware...

Tony Duquette Modern Designer gilt metal & wrought iron mirror Additional information: Materials: mirror, wrought iron Color: Gold Brand: Tony Duquette Designer: Tony Duquett...

Monumental brass wall lights with opaline glass globes from the National Gallery Praque. Monumental and chic design wall lights with high quality brass fixture and luxury opaline ...

Pair of blue and white plaques with ships off the coast. Makkum, 1784-1800 Kingma pottery painter: Adam Sijbel The diamond-shaped plaques have a raise...

Beautiful pair of Italian baroque style walnut and parcel-gilt sconces. (Life size) Measures: 21" x 13.5" x 8.5".