Baroque Furniture

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,...

18th Century German Baroque painted chest of drawers with serpentine front drawers on tapered feet in later paint.

Rectangular coffee table in 18th century style, Venetian baroque. Built in the 20th century by Venetian master craftsmen. Shaped top doubled in walnut ...

The form and décor of the plate is a close copy of the "Brocade" Pattern of Japanese Imari porcelain. Based on a Japanese original, each painted with a bird on a rocky outcropping before a pine tree, the border with cloud-shaped panels of phoenix. A nearly identical example is exhibited in the British Museum in London. For this rare décor sometimes nonsensically the term "Warsaw Servive" is used. The letter „K...

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

This is an outstanding Italian 18th century carved wood polychromed sculpture of Virgin Mary. The Sculpture is hand painted with some remains of a gold gilt in few places and originated until lately in a private Villa in Tuscany (Italy). The colors are typical red, blue and green are spectacular on this large figure. The Virgin's hands are joined together in a prayer, while standing on a pedestal on the both sides of which are devil's horns (bottom left side horn missing ) symbolising Holly Mary defeating the Evil, protected by the Holly Ghost and an Angel. A story tells the pose of the Virgin Mary sculpture...

An early 19th Century Baroque style center, console table from Provence, in good condition. This antique Provencal table is hand crafted in so...

Sacrificio a Minerva Monumentale Dipinto Antico con Scena Mitologica del 1600 dipinta ad olio su tela raffigurante una composizione animata da una moltitudine di personaggi. Il dipin...

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

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...

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

19th Century Baroque Spanish side table with marquetry top and iron stretcher 19th century Spanish trestle table in walnut. This piece has a great scale, lovely turned legs and be...

Important Portuguese Sacred Art Sculpture from the 17th century, "Our Lady and Child Jesus" in polychromatic and gilded wood, It was never restored - m...

Comprised of an inlaid round walnut top (with new glass top) over an early figural carved base, this 18th century entry table is truly a piece of art. Once featured in a prominent East Coast design magazine, it would display beautifully with a tall vase in a monumental entryway. Wonderfully aged example of an early 18th century carved figurehead...

Rectangular box with inward corners in sterling silver 925/1000 gold plated with beautiful miniature fire enameled and hand painted by the painter Beatrice Mellana depicting the painting "The Turkish slave" by Francesco Mazzola known as "il Parmigianino" (National Gallery of Parma). Dimensions cm. 8.5 x 11.5 x 3. Weight gr. 345. Designed by Franco Salimbeni in 1965 and manufactured in Florence in numerous specimens with various different subjects, in the headquarters of the Salimbeni company with completely manual execution by artisan artists with thick slab and large reinforcements suitable for withstanding numerous high-fire enameled firings at about 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...

A near pair of oval Venetian mirrors covered in glass leaves, embellished with flowers. Can be sold separately.

1950s EBONY ELEPHANT DECORATIVE ELEPHANT FROM THE 50'S IN EBONY AND BONE . MEASURES: 28 CM HIGH good condition.

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

This is a beautiful Spanish desk from the 18th century, Carlos III era. Made of walnut wood in complete pieces of wood, both on the sides, drawer fronts and...

Chest of drawers in various Woods Northern Italy. 18th century. Veneered and threaded Dimensioni 89x123x59 cm ca. Very good condition.

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...

Marine Surgeon's Box" Louis MATHIEU 1816-1879 Navy Surgeon's Box with two superimposed trays presenting the different instruments (including saw, scalpels, trepanning tools, box...

A Baroque style carved wood and leather seat side chair with nail head trims. Newer upholstery in great condition. Good condition. Measures20" in width, 20 inches in depth and stand...

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...

Stone Round of Lysimachus - Statere, late 19th century. Italy This roundel is part of a series of roundels inspired by wonderful ancient Greek coins. Freely reproduced from a Thra...

An exceptional pair of 18th century Italian Baroque grand scale consoles in waxed walnut wood with elaborated design and the scroll elements. The half-moon rounded tops have molded e...

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...

Elegant double bed in Baroque style, made in the early 20th century. Entirely in worked and carved wood with original period upholstered fabric headboard...

Fine dutch delft 18th century drug jar. The jar of ovoid form with rolled top rim and tapered body down to the circular flat foot rim, decorated with opposing...

Dutch Delftware apple Delft, 1750-1780 The apple with stem is modelled on a base of leaves and is painted in realistic colours. Dimensions: height...

Danish Baroque table approx. 1750. Pine table top, apron and drawers. Legs in oak with a box stretcher base. Raw style with a good expression. ...

Spanish wrought iron "X" bench from the early 1900's. The bench has developed a beautiful patina. A new embossed leather cushion has been added recently.

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

Made in early 20th in Baroque style giltwood carved mirror, the shaped frame carved with floral motifs, leaves, flowers. Water gilding of polished and matte quality, with some bleedi...

Ancient original cachepot in terracotta lucchese - Tuscany 19th century Original antique terracotta Cachepot from Lucca - Tuscany Vase with handles. Measures: height 30 cm We...

Polychrome lobed dish with peacock. Delft, circa 1680 Dimensions: diameter 34,7 cm / 13.66 in. The polychrome lobed dish is composed of nine wide lobes...

This luxurious carpet has been woven with a rich wine-red background with cream, blue, green and pink accents that make up the intricate, highly-decorative medallion and surrounding ...

19th Century Spanish side table with beautiful and rare iron stretcher. The rectangular top has carved edges, the end legs has a beautiful Solomonic carved. The measure is very rare...

Round stone relief with portrait of Julian the apostate late 19th century. Italy This roundel is part of a series of roundels inspired by the wonderful classical ancient Greek...

Cast bronze wall sculpture with seven children chorus. Europe, early 20th century. Signed M. Raúl Couceiro.

Wonderful pair of Italian Baroque paperweights from the 1800s. The pair is made with a truly binding Onyx base. The onyx stone has been carved to make the paperweights semi-equal. Ab...

Mirror from the 1920s, made up of a large black walnut wood frame that elegantly supports the mirror. Original mirror. Frameless mirror measurements: height: 53.5cm width: 65cm

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 gilt wood 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. A retailer's label reads " Fred K/ Keer's Sons - Framers and Fine Art Dealers - 917 Broad St. Newark, N.J." - Another label from the gilder reads "Carlo Bartolini - Doratore e Verniciatori - Via Maggio 1924 - Firenze". Circa: 1890-1900. Subject: Religious painting Canvas diameter: 28 inches (71.1 cm) Frame height: 54 inches (137.2 cm) Frame width: 42 1/2 inches (108 cm) Frame depth: 5 1/2 inches (14 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...

A beautifully executed and rare complementary pair of oil on canvas paintings depicting two of the moist famous and important counter reformation catholic saints St Francis Xavier and St Carlo Borromeo shown in scenes of what the respective saints are mostly famous for. St Francis Xavier for the conversion to Christianity of many S. E Asian countries notably India and St Carlo Borromeo shown asking the Virgin Mary to intercede for the cessation of the terrible plague of 1576. The paintings are presented in refreshed gilded carved wooden frames and are unsigned. St. Francis Xavier was born in Spanish Navarre in 1506 and in 1528, he met St. Ignatius of Loyola. He became one of the seven in 1534 who founded the Society of Jesus (Jesuit Order). In 1536, he left the University of Paris and joined St. Ignatius in Venice. He was ordained in 1537, and in 1540 after the Society was recognized by the Pope, he journeyed to the Far East. Francis Xavier first evangelized the Portuguese colony of Goa in India, then Travancore, Ceylon, Malacca, and the surrounding islands. From there he journeyed to Japan, where he gave Christianity such deep roots that it survived centuries of violent persecution. He died on Sancian Island in 1552, while he was seeking to penetrate into the great forbidden land of China. Despite language problems, lack of funds, resistance from the Europeans as well as the natives, he persevered. St. Francis converted more people in his life than anyone since the Apostle St. Paul. He baptized over 3 million people, converted the entire town of Goa in India, and he labored in India, Pakistan, Bangladesh, Sri Lanka, Malaysia, Indonesia, Singapore, and Japan. He was truly a missionary par excellence. St Carlo Borromeo (1538-1584), was a Cardinal of the Holy Roman Catholic Church and Archbishop of Milan from 1565 to 1583. He was described in the decree for his canonization, as “a man, even while the world smiles on him with the utmost flattery, he lives crucified to the world, spiritually, trampling earthly things, seeking continuously the things of heaven, emulating the life of the Angels on earth, in his thoughts and actions. The plague began in the month of August that year. Milan was celebrating joyfully the arrival of Don John of Austria, on his way to Flanders, where he had been appointed governor. The city authorities were abuzz with excitement in their desire to bestow the highest honours on the Spanish prince, but Charles, who had been Archbishop of the diocese for six years, was following with concern the news coming from Trento, Verona and Mantua, where the plague had begun claiming victims. The first cases exploded in Milan on August 11th, right at the moment when Don John of Austria arrived. The victor of Lepanto, followed by the governor, Antonio de Guzmán y Zuñiga, departed the city, while Carlo Borromeo, who was in Lodi for the Bishop’s funeral, returned in haste. Confusion and fear reigned in Milan and the Archbishop dedicated himself completely to assisting the sick and ordering public and private prayers. Dom Prosper Guéranger sums up his infinite charity in this way: “In the absence of local authorities, he organized the health service, founded or renewed hospitals, sought money and provisions, decreed preventive measures. Most importantly though, he took steps to ensure spiritual help, assistance to the sick and the burial of the dead. Unafraid of being infected, he paid in person, by visiting hospitals, leading penitential processions, being everything to everyone, like a father and true shepherd” St. Carlo was convinced that the epidemic was “a scourge sent by Heaven” as chastisement for the sins of the people and that recourse to spiritual measures was necessary to fight against it: prayer and penitence. He rebuked the civil authorities for having placed their trust in human measures rather than divine ones. “Hadn’t they prohibited all the pious gatherings and processions during the time of the Jubilee? For him, and he was convinced of it, these were the causes of the chastisement. The magistrates who governed the city continued to oppose public ceremonies, out of fear that the large gathering of people would spread contagion, but Charles “who was guided by the Divine Spirit” – recounts another biographer – convinced them by citing various examples, among which was the one regarding St. Gregory the Great who had halted the plague devastating Rome in 590. While the pestilence spread, the Archbishop then ordered three general processions to take place in Milan on the 3rd, 5th and 6th of October, “to placate the wrath of God”. On the first day, the Saint, despite it not being the Lenten season, placed ashes on the heads of the thousands gathered, exhorting them to penitence. Once the ceremony was over, the procession went to the Basilica of St. Ambrose. Charles put himself at the head of the people, dressed in a hooded purple robe, barefoot, penitential cord at his neck and large cross in his hand. The second procession led by the Cardinal headed towards the Basilica of San Lorenzo. The third day the procession from the Duomo headed for the Basilica of Santa Maria at San Celso. St. Carlo carried in his hands a relique of Our Lord’s Holy Nail, which had been given by the Emperor Theodosius to St. Ambrose in the 5th century. The plague didn’t show any signs of waning and Milan appeared depopulated, as a third of its citizens had lost their lives and the others were in quarantine or didn’t dare leave their homes. The Archbishop ordered about twenty stone columns with a cross at the top to be erected in the main squares and city crossroads, allowing the inhabitants from every quarter to take part in the Masses and public prayers - from the windows of their homes. One of Milan’s protectors was St. Sebastian, the martyr the Romans had recourse to during the plague in 672. St. Charles suggested that the magistrates of Milan reconstruct the sanctuary dedicated to him, which was falling into ruins, and to celebrate a solemn feast in his honour for ten years. Finally in July 1577, the plague ceased and in September the founding stone was laid in the civic temple of St. Sebastian, where on January 20th every year, even today a Mass is offered to recall the end of the scourge. St.Carlo Borromeo died on November 3rd 1584 and was buried in the Duomo of Milan. His heart was solemnly translated to Rome, in the Basilica of Saints Ambrose...

Display cabinet in Dutch Baroque style Light mahogany and maple on solid wood. Exceptionally rich intarsia. Work on carved paw-feet. Multiple curved border above bowed four-drawered...

The rectangular top above a long drawer raised on chamfered legs joined stretchers.

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 ...

A richly carved walnut, Venetian arm chair. Covered in later velvet with antique fringe. This is the "hers" of "his and her" chairs (sold separate...

Bas-relief in marble Apuan statuary of thinking Athena End 19th century Italy Measures: height 51 cm Width 30 cm Thickness 3 cm - it can vary from 3 cm to 4 cm Weight 9 kg Ma...

Round snuff box in 925/1000 sterling silver gold plated with fired enamel on the enameled edge with vertical stripes and fine monochrome miniature hand painted by the painter Renato Dainelli. Diameter cm. 6.2 cm high. 3.4. Weight gr. 222. Designed by Franco Salimbeni in 1967 and produced in Florence in the Salimbeni company headquarters with manual workmanship by skilled artisan artists with thick slab and large reinforcements suitable for withstanding 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...

Wonderful Baroque carved wooden candleholders, Italy, circa 1650-1750. Several layers of paint visible. Weathered and small losses. Measurement individual.

Very elaborate and lovingly designed group of animal figures: European roller leaning forward, also known as almond crow in German-speaking countries, sitting on a tree trunk with o...

Rectangular top with molded edge over two paneled doors with diamond-shaped motifs, raised on plinth base ending on compressed bun feet.

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

This is a very unusual pair of late 17th or early 18th century Italian Baroque Girandoles. The girandoles feature a finely executed carved gilt wood frame that is surmounted by a fin...

Pair of Italian Baroque style giltwood chairs. Stunning pair of Roman Baroque style gilt wood chairs, circa 1920. These unusual chairs or side chairs ha...

This beautiful detailed hanging cabinet or cupboard was made in western Germany in the early 19th century, circa 1820. It was completely made in the finest quality European quarter-s...

Titus Roman Emperor, terracotta round end 19th century. Diameter 31cm. thickness 6cm. weigh 8kg. Material terracotta. Very good condition. Titus Flavius Caesar Vespasian Augustus (in Latin: Titus Flavius Caesar Vespasianus Augustus; in the epigraphs: IMP•T•CAESAR•VESPASIANUS•AVG•PON•M•TR•POT[1]; Rome, 30 December 39 – Aquae Cutiliae, 13 September 81, better known simply as Titus, was a Roman emperor, belonging to the Flavian dynasty, and reigned for just over two years from 79 to 81, the year of his death. Before ascending the throne, Titus was an able and esteemed general who distinguished himself for the repression of the rebellion in Judea in 70, during which the second temple in Jerusalem was destroyed. He was considered a good emperor by Tacitus and other contemporary historians; he is known for his program of public works in Rome and for his generosity in rescuing the population following two disastrous events: the eruption of Vesuvius in 79 and the fire in Rome in 80. Famous is the definition that the historian Suetonius gave of him: "Amor ac deliciae generis humani. » « Love and delight of mankind. » Titus' family, the gens Flavia, belonged to that Italian nobility which, in the first half of the first century, was gradually replacing the more ancient Roman aristocracy, weakened by the decades of civil wars fought in the first century BC. The Flavians, in fact, were not of noble origins, but they managed, within just three generations, to rise from humble origins to the honor of the imperial purple. Tito's paternal great-grandfather, Tito Flavio Petrone from Rieti, had fought as a centurion evocatus in the army of Gnaeus Pompey the Great during the civil war of 49-45 BC, fighting in the battle of Farsalo and fleeing after the defeat of the Pompeians; he was pardoned by Cesare and became tax collector...