Baroque Furniture

Rare Baroque hallway cabinet from Germany, made circa 1720. This type of cabinet it is called a 'Nasenschrank' in Germany (literally a 'nose cabinet'). This type became very popular ...

This beautiful maiolica pottery charger is from Montelupo, Italy and is boldly decorated with a soldier walking, carrying a tool of the day. Vividly painted in yellow, green, and blu...

An Italian Baroque brass pricket candlestick with crenellated hexagonal drip-pan and baluster standard on a spreading base with scroll feet. An imp...

An impressive piece recently purchased from a local family that had it for many years and had inherited it from their grandparents. With rectangular top decorated with trailing flowe...

Important Italian sculpture "Diana Gabi" Carrara marble 19th-20th century Very good condition.

Console Fratino table hand-made in Italy in the mid 1700s using walnut. The table has beautiful proportions, color and patina, and I fell in love with it the moment I saw it. The top...

2 art deco wardrobes. The furniture from our workshop is manually covered with high-gloss shellac Laquer.

Antique Scandinavian Baroque style sewing box made from solid oak with a warm patina. Manufactured ca mid 1800. The box has a pin cushion on top and comes with its original iron key...

A large palatial Flemish baroque historical tapestry depicting a battle scene, with soldiers to the foreground on land, the opposing army arriving by sea, with a city under siege to ...

With shield form backs and arm and hand candleholder. Currently not electrified. Featured in an upcoming Stephen King movie.

A fine Italian 19th century oil painting on canvas "La Madonna della Seggiola" after Raphael (Raffaello Sanzio da Urbino 1483-1520) The circular 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 (all high quality gilt is original) 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 Measures: Canvas height: 29 1/4 inches (74.3 cm) Canvas width: 29 1/4 inches (74.3 cm) Painting diameter: 28 1/4 inches (71.8 cm) Frame height: 57 7/8 inches (147 cm) Frame width: 45 1/2 inches (115.6 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...

Antique German Baroque dome top painted walnut sea chest, dated 1784. The chest having a hinged dome top with iron strapping, the interior of the lid having hand-forged strap hinges and original hand-forged iron lock...

Eighteenth century Baroque walnut Tuscan console table.

Very nice Pair of 19th Century Italian pillar candleholders. Features beautiful carved bulbous and curved wooden design. Round base. Nice black and tan patina. Wonderful form.

Presenting our Castle Table, inspired by the furniture gracing the halls of ancient castles and monasteries, where gatherings for meals and drinks were a tradition. Crafted by our hi...

Important hall cabinet from around 1770/1780 Walnut, walnut burl and other precious woods veneered on softwood, two-door body divided by three pilasters, doors with octagonal carto...

Pair of Tufted Cerused Lounge Slipper Chairs upholstered in a velvet fabric. The chairs have cerused oak legs with the front legs having casters.

COUNTER Philippine/ Portuguese, from the 17th century. box with eight drawers simulating twelve, in wood. Brass hardware and handles. Small defects. Dim.: 112 x 73 x 40 cm very good...

An imposing religious-themed painting depicts the scene of the "Assumption of the Virgin". The iconography in this 19th-century painting follows the tendencies of Baroqueization and ...

Magnificent "Dorso Masculino" sculpture in Carrara marble from the late 19th century. Italy Measures: H. 108cm x 37cm Perfect conditions.

This Roman table made in the Baroque taste is a fine example of the type of furniture made for stylish and demanding customers in the eternal city. Made in the late 17th century to e...

Largest collection of Portuguese tiles in the world 18th century Portuguese " Azulejos " Countryside Scene" Measures: 180cm x 84cm 78 tiles Important note: This panel is with the ...

Coriolan's mother and wife beg him to spare Rome , Oil On Canvas . German School Circa 1750 This painting represents the story of Coriolan, Roman general and leader of the Patrici...

Largest collection of Portuguese tiles in the world 18th Century Portuguese " Saint Antony " Measures: 266 cm x 126 cm Important note: This panel is with the tiles restored 18th c...

Large Italian Marble Sculpture – "The Rape of Proserpina" Origin: Italy Period: 1970s (20th century) Material: Italian white marble Dime...

19th Century Baroque Carved Gilt Wood Wall Mirror Carved With Fruit Pediment & Scrolls. Mirror would be suited to both an opulent interior or a neutral one seeking a splash of luxury.

A fine Italian, 18th century parcel-gilt and turquoise painted caned canapé with a shaped back decorated with shell-carved crest, scrolling armrests on a serpentine seat on cabriole ...

Beautiful 18th century Panel Loose Pieces Portuguese Tiles 1.93 x 0.83m 84 tiles good conditions

just purchased more information to follow

Important German Sculpture "CHILD JESUS" 17th Century in silver metal. Sitting on a wooden base. Height (sculpture) 52 cm. Height: (total) 60 cm good original conditions

Three-pronged body made of softwood with saw-veneer walnut, walnut root and fruitwood. Original classicistic locks and fittings with ring handles. According to the heir, the dresser ...

This is an elegant pair of porcelain sauce bowls with floral drawings in red and blue. It is beautiful for a table dressing or to collect. The production of this well known Italian...

Having a rectangular top with molded edge above a conforming case housing four drawers with original bronze handles and escutcheons, giltwood leaf-form scrolls at upper front, the si...

have a beautifully set of 8 restored curtain tie backs in a feather form. Circa late 19th century

It is the incredible hand-wrought iron details that make this dome top trunk an exceptional find. Note the elaborate flowers seen throughout the ironwork, encasing the top, corners a...

Walnut cabinet inlaid and inlaid with ebony, copper, mother-of-pearl, bone and brass opening with 3 doors in the upper part and two doors in the lower part. Amount decorated with car...

Rustic antique butter bucket / amber / ambar, hand-crafted from pine wood with original rosemaling / rose painting from Telemark, Norway. Dated 1846 on one side of the handle, and in...

- Elegant period armchair injecting character to any interior - Practical, sturdy and suitable for regular use - Re-upholstered in a 19th century, rust, mohair velvet faced with ru...

A stunning and large scale Italian 18th century Baroque period Giltwood wall decor panel. At the center of this very decorative panel is a protruding central medallion with carved fo...

This beautiful plate features Don Quixote, the most popular character in Spain from the Spanish literature. The dish has iridiscents details and a ...

After Sir Anthony Van Dyck, 19th Century Portrait of Prince Tommaso Francesco of Savoy-Carignano. Oil on canvas with remains of old gallery label pasted to verso. After the portrai...

Faberge Eggs Imperial Russian Fantasies Softcover Book. Near Fine-very. New York: Harry N. Abrams, Inc.,1995. 'Fabergé Eggs - Imperial Russian Fantasies'. Elephant Folio, illustrated perfect-bound wraps, 68 pp. A visually sumptuous presentation of the famous - and very rare Fabergé Eggs...

Pair of late 17th Century or early 18th Century Italian carved giltwood console tables. The serpentine faux painted breche violette top above a gilded pierced scrolling cartouche fri...

Great looking pair of late 19th century Lion's Head Andirons. Each features ornate designs on upper round shaped orbs and stunning brass lion's head crests in the bottom center. Hea...

Our Lady of the Assumption Triptych Italian, 19th Century in ebonized wood with brass applications with an enamel plaque in the center representing t...

The lamp base is made from three-sided bronze altar candlestick embellished with religious symbols en relief, as well as classical detailing and cla...

Very sweet little French bronze candlestick dating from the 17th century. Measures: 15.5 cm high 8 x 8 cm base. Free shipping.

This elegant sauce terrin was handmade by the well known Italian factory Doccia, in the circa 1750. The Doccia products are pieces to collect. This sauce terrin with floral drawings...

Dutch missal with solid silver mount, 1843 Gulpen, printed in Dutch 9.8 x 15.2 cm, thickness 4.2 cm

Italian Inlaid Venetian Burlwood Baroque Cabinet, Bookcase, Vitrine or Cupboard A fine cabinet of burl wood with a lower commode having three drawers ...

Antique Reed & Barton Winthrop Silver Plated Baroque Tea Set w/ Wilcox Serving Tray - 5 Pc Set. Listing includes (1) Tilting teapot, (1) creamer, (...

Introducing an exquisite Baroque wingback armchair that transports you back to the elegance of the 18th century. This remarkable piece, originating from Germany around 1760, showcase...

Exceptional Swedish Baroque 18th century armchair, circa 1740, origin: Sweden, with beautifully carved details such as shells, scrolls on...

Our "Balaustra" one-of-a-kind 2-pedestal table features a majestic, 2.25" thick sculpted edge, solid slab boards of heavy Old European Walnut of exceptional character and beauty. The...

Pair of Italian painted urn form lamps. Stunning pair of Italian painted or polychrome urn form lamps on faux marble bases that date to the 1920s. This lovely pair of Italian Baroque style lamps...

Antique Italian Baroque double bed in solid walnut and veneered walnut restored and wax-polished, circa 1850 Measures cm: H182\111 W183 D220 (internal 170 x 200). ABOUT Bassano's ...

A LARGE OIL ON CANVAS OF 'DON GASPAR DE GUZMAN COUNT-DUKE OF OLIVARES, MID-20TH CENTURY, originally painted by Diego Valazquez ( 1599-1660), Provenance: Painting has been used in the Three Musketeers film and was purchased from...

A Swedish period Baroque three-chair back carved-wood sofa, with upholstered seat, from the 18th century. This fabulous hand carved wood bench features three carved back splats for resting, flanked within wood arm rests at each far end. The top rail is adorn with four finials...

Unique 18th Century Italian Baroque style flip top walnut chest or nightstand. Chest has two deep drawers over a bottom door to a small nook for furthe...

This is an original etching by Giovanni Benedetto Castiglione, circa 1640, of a Young Man Looking Down to the Right. It is the only known state and belongs to the series known as 'Studies of Heads in Oriental Headdress'. Signed (in monogram) in the plate in the upper right 'G Castiglione Genovese.' In a delicate gilt/black frame. Frame dimensions 12.75" by 8.75". Certificate of Authenticity. In this work, Castiglione offers us an exquisite portrait of a young man. This small etching shows all the hallmarks of Castiglione's style: incredibly detailed etching marks that result in a wonderful play of light and shadow. The angle of the head and the lively floating feather in the young man's hat show us a figure in movement, pausing to look at something the viewer can only guess at. That such a small collection lines and cross-hatchings can evoke so much is a testament to Castiglione's genius. Giovanni Benedetto Castiglione was an Italian Baroque painter, printmaker and draftsman of the Genoese school. He is best known now for his etchings, and as the inventor of the printmaking technique of monotyping. He was known as Il Grechetto in Italy and in France as Le Benédette. Castiglione was a brilliant draftsman and pioneered the development of the oil sketch (often using a mixture of mediums) as a finished work. He is credited with having invented the monotype in 1648, the only printmaking technique to be an Italian invention, making over twenty over the succeeding years. His most popular and influential prints were a series of exotic heads, mostly of vaguely Oriental males, but also of women. From Bartch/Bellini: Giovanni Benedetto Castiglione was profoundly influenced by foreigners. He first studied with local artists in his native Genoa, absorbing not only Tuscan Mannerism and Caravaggism but also the style of Peter Paul Rubens, who had worked in Genoa. From 1621, Castiglione also worked in Anthony van Dyck's Genoa studio. Early on, he was attracted to Flemish animal painting. Though he painted portraits, historical pieces and landscapes, Castiglione excelled in rural scenes with animals and influenced Italy's animal painting specialists. By 1634, Castiglione was in Rome, where he remained for about ten years. After returning to Genoa for a time, he worked for the Mantuan court in 1648, which had also employed Rubens. There Castiglione picked up the freedom of touch he saw in Domenico Fetti's paintings. One of the first Italians to appreciate Rembrandt van...