Baroque Furniture

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

Venetian Capriccio with Santa Maria della Salute and Figures Italian School, 18th Century Oil on Oak Panel Dimensions: Panel – 16 x 21.5 cm (6.3 x 8.5 in). Provenance: Private Europe...

Portuguese buffet table 17th century Shivered friezes, in rosewood wood with two drawers. Sits on toned legs. Dimension: 82 x 130 x 84 cm. good condition.

Meissen Coffee Set for 6 Persons, Decor number 321010 - Rich Dragon in black, shaded red and gold, gold rim 21 parts: 1 coffee pot with lid - height = 24,0 cm / 9.44 in 1 cre...

This unique and original work of art was sculpted by Michel Kiriliuk. Born in France and self-taught, this sculptor, interior designer, and painter describes himself as an ultra-baro...

elegant pedestal column in classical style, handcrafted production in the 1980s. The cabinet has a solid and imposing structure, with fine hand-carved details: floral-patterned panel...

A beautiful hand carved and hand painted cherub angel Head, found at an estate sale in Germany. Made by a woodcarver in the South Tyrollean area, this area is well-known for their wo...

This original Baroque armoire stands out for its exquisite hand-carved details. It dates back to 1750 and was made in southern Germany. The two door armoire is made of massif walnu...

A 19th century classical and colorful plaster wall relief sculpture featuring a young Bacchus and two putti companions. Surrounded by grape vines, grapes and leaves. Sitting on cloud...

Oversized palace size monumental baroque figural Capodimonte style, finely detailed porcelain antique mantel clock/centerpiece. This piece depicts a baroque wedding carriage drawn by...

A Baroque-style three-seater sofa crafted from walnut in the 2nd half 19th century. The curved backrest and apron are richly adorned with intricately carved decorations featuring she...

Impressive Baroque secretary in three sections ("à trois corps"), raised on compressed bun feet and veneered in fine walnut. The lower commode section comprises three drawers, with t...

This beautiful German Baroque dresser dates back to circa 1750. It was probably made in the region of the city of Dresden. Different walnut veneer grains embellish this original com...

18th Century, Italian Pair of Carved and Lacquered Wood Consoles This rare pair of elegant Baroque consoles was made in Piedmont, Italy, in the 18th century, in carved and lacquered...

Curiosity cabinet object. Ostrich egg on a bronze silver plated base in the shape of a rooster’s pate. Redmile style.

17th century oak armchair re-upholstered in navy faux faur The faux fur creates a cosy, funky, fun, modern, individual, interpretation of...

“MAGGIORE” Credenza - The Italian Art & Handcraft of Fine Antique Reproduction “Maggiore” 2-door Credenza, with (or without) Renaissance dentil detail: Measures: 43”W x 35”H x 24”D...

Set of five Baroque chairs on curved S-legs with upholstered seat and backrest. The chairs were expertly finished and covered with a white base fabric.

An Portrait of a Lady and her Dog, 18th Century, European School The oval painting within its original oak leaf and beaded gilt-wood frame, oil on canvas. Height: 101 cm Width: 85 ...

Very special set of 6 Italian Baroque or Swedish Rococo style dining side chairs featuring tall shapely backs, stretcher base, Queen Anne style legs, solid wood construction. Hand pa...

Sculptural 18th century Italian fragment with chalcopyrite on a druzy crystal matrix with calcite crystals and gold-plate kyanite. Th...

The scene depicting a well-known Roman and Greek Myth: Hera, wife of Zeus has turned his lover, the nymph Io, into a cow and has cast her out of the heavens to earth and the garden of Nemea and ordered Argus, the all seeing Giant, to watch over her. Zeus sends Hermes...

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...

This beautiful pottery charger is is decorated with a woman carrying a basket of flowers on her head. Vividly painted in yellows, greens, and blues. Condition is very good, does have minor chips commiserate with age and use. Back is signed Vincent Garnier...

Boxwood micro carving Deposition Central Europe, first half of the 18th century It measures: the sculpture 7.40 x 5.31 x 0.6 in (18.8 x 13.5 x 1.6 cm); w...

Set of 5 armchairs Portuguese 18th Century, in kingwood with carvings. Fabric seats. Dim.: 108 x 61 x 51 cm Very good condition.

This remarkable Murano mirrored glass console with hand blown blue flowers is one of the most elegant and regal styles available. This extravaga...

Pair of 18th Century Candle Bearing Angels. Comprising a pair of charming carved polychrome and gilt wood figural candlestands modeled as angels and on integral raised stands, carved in full round and with gesso stiffened clothing. Decorate a mantel or a console with this important pair of antique polychrome painted sculptural candlesticks. Candle bearing Angels. 18th century carved wood polychrome putti...

- In wonderful original condition from a West Country farmhouse where it has reputedly been all its life - The top is rare because it reversible with a patinated surface on one side...

Console table hand-made in Italy in the early 1700s using walnut. This table comes from an estate in the area of Frascati, on the hills east of Rome, where well-to-do Roman families ...

Grand father case clock with Chinese figures xixth English clock from the 19th century decorated with Asian landscapes. The clock works perfectly and is ...

This is an Italian reversed painted mirrored side table. This mid century table has a hand carved baroque inspired base with a floral painted mirrored...

An important pair of Venetian bronze lions, late 19th century From Venice, private collection. Of fantastic quality, they feature an enviable patina. Perfect as a decorative access...

18th Century Venetian wall consoles. Pair.

Golden wood mirror 19th cent. Hand carved. Fruits and flowers. Probably mounted with antique and original parts. Antique mirror on both side. The back has been changed.  

Rectangular top over inverted legs joining a box stretcher with serrated edge, scroll feet.

A handsome C18th swedish baroque oak console/demi lune. In a lovely light bleached oak retaining some traces of original paint it has three curved legs with a stretcher support sitti...

Tapestries were ubiquitous in the castles and churches of the late medieval and Renaissance eras. At a practical level, they provided a form of insulation and decoration that could b...

Centerpiece white maiolica shell Ferniani factory, early period: 1693-1776 Faenza, circa 1700 Measures: 5.6 in x 14.72 in x 13.46 in (14.3 cm x 37.4...

IMPRESSIVE COUNTER Lusíada 17th Century in sissoo wood, engraved ivory inlay with darkened backgrounds with flowers and leaves and secant circles, edges with engraved ivory and bone...

This vase embodies a raw, punk sensibility translated into refined stoneware craftsmanship. The cylindrical body is hand-built in glazed stoneware, its surface treated with a drawn, ...

Original oil on canvas painting "nature morte" or literally "dead nature," this still life depicts multiple birds, fruit, flowers and more. Unsigned Condition: Some retouches. The ca...

Miniature parquetry two drawer bombe chest made in Italy. All sides including back are finished.

Baroque Commode in Walnut with Inlays from Around 1750 This antique commode impresses with its elegant form typical of the mid-18th century. An original piece in very good condition...

Late 18th century pair of Swedish narrow cabinets, crafted in pine and retaining their original hand painted finish. Carved Baroque panels accent the doors, and it is increasingly ra...

Pair of impressive size gilt bronze chandeliers, each completed with 16 scrolling acanthus arms with foliate bobeches, and total of 40 lights, encased in custom made candle sleeves. ...

Solid silver centerpiece in Baroque style - Queen Anne, made entirely by hand starting from a raw sheet of silver and then padded and shaped. On the raised part, grooves have been em...

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...

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A stunning and very unique Italian 19th century Baroque st. giltwood, faux painted marble, and glass coffee table. The table is raised by an exceptional and most decorative scalloped...

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...

having a thick rectangular (removable) top secured by dowels atop a conforming case housing three paneled drawers, one large flanked by two smaller, and two paneled doors, the doors ...

This is a very good provincial period Regence carved walnut commode or chest of drawers. The commode features an oxbow form with shaped drawers and a central drop pendant. The feet h...

Large Italian Tapestry, Country of Origin / Rug Type: Italian Rugs, Circa Date: Late 20th Century – Size: 11 ft x 19 ft (3.35 m x 5.79 m)

Original pieces from the renowned Trowbridge Gallery, London We offer two exceptional hand-colored copperplate engravings after original botanical illustrations by Maria Sibylla M...

2 Continental Baroque style stained pine side chairs with Hapsburg double eagle carved back & armorial embossed leather upholstery (late 19th/20th Cent) (PRICED EACH)

Grand hardwood and leather library armchair designed by Hendrix Allardyce in the Italian Baroque taste. The monumental chair features a hand-carved hardwood frame with large molded a...

A cylindrical vase hand-built in raw white stoneware, its matte, slightly gritty surface contrasting with the smooth, creamy ash glaze lining the interior. The piece is defined by it...

Finely carved elegant vases with lion macarons and flower garlands.

A magnificent and quite large, Baroque style, Museum quality, antique Meissen Porcelain grouping of Apollo, the Sun God's, Sun Chariot with his Putti Servant, originally designed by Johann Joachim Kändler in 1772-1773 for Czarina Katharina, Better known as Catherine the great...