Baroque Furniture

Hand-painted Meissen Porcelain centerpiece, 1860s - 1924 era. Two slight internal cracks are present as shown in the photos. Ø cm 28 Ø cm 25 h cm 10 Meissen porcelain is considere...

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.

France / 1900 / gilded frame / wood / Antique / Baroque / Rococo A stunning gilded wooden painting frame, crafted in France around 1900. This piece has some some small signs of use ...

A monumental 20th century Spanish trestle table, having a rectangular framed solid pine inset board top, resting on hand carved, classical lyre legs joined by a beautifully wood stre...

Richters German Anchor blocks building toys / Der Geschickte Baumeister Made in Rudolstadt, Germany, circa 1900. Wooden box with printed paper labe...

A monumental 20th century Spanish trestle table, having a rectangular framed solid walnut inset board top, resting on hand carved, classical lyre legs joined by four beautifully iron...

Italian carved wood painted trestle dining table with leaves. The table has a vintage, weathered look. It is made of wood with a large rectangular top. The table has a trestle-sty...

Discover a piece of history with this vintage Richters German anchor blocks building toy, also known as Der Geschickte Baumeister. Made in Rudolstadt, Germany, circa 1900, this set c...

These will be newly wired with certified US UL sockets for the USA and appropriate sockets for all other countries and ready to hang. Gold gilt metal scroll...

Antique French Tapestry Art Nouveau Handmade Antique Tapestry Verdure 6'10" x8'5" 208cm x 257cm Circa 1900 'Beautiful antique French tapestry depicting a scenic view including ma...

France / 1900 / sculpted frieze / oak / Antique / Baroque / Rococo A beautiful baroque style frieze or wall ornament in oak. Hand carved in France around 1900. A very decorative p...

Fine pair of Italian 19th-20th century baroque style giltwood carved winged throne armchairs, each finely carved throne with scrolls and wavy armrests, on cabriole carved feet. (New ...

Circa 1900’s Caldwell silver plated chandelier with unusual design on body. 6 lights. Matching sconces available

Silver 264-piece flatware (cutlery set) for 18 persons, Made by Koch & Bergfeld, Germany / Bremen, circa 1900 Gorgeous German cutlery set / flatware / dinnerware consisting of 264 pieces. Most elegant design = Baroque FORM & engraved initials HG. Additionally, this cutlery set is kept in Gorgeous wooden chest made of oakwood (refurbished by hand): Two doors - having lock and key - are existing at front side / additionally, a hinged platter which is upholstered at inner side is attached to chest's upper side. Inside there are five drawers with knobs visible, all of them well-equipped with finest interior decoration (interior design) presenting this flatware set's parts in most elegant manner. This cutlery set / flatware consists of following parts: 18 dinner knives. 18 dinner forks. 18 soup spoons. 18 appetizer knives. 18 appetizer forks. 18 appetizer spoons. 18 coffee (dessert) spoons. 18 ice-cream spoons. 18 fish knives. 18 fish forks. 18 cake forks. 18 mocha spoons. 18 forks for fruits. 18 knives for fruits. Three napkin rings. Two sugar tongs. One small carving fork. One knife for butter. One fork for cheese. One fork for cake. Two forks for meat...

These will be newly wired with certified US UL sockets for the USA and appropriate sockets for all other countries and ready to hang. Metal scroll with perfect patina. Housing three ...

Newly rewired and ready to hang! We use certified UL US sockets for the United States and appropriate sockets for all other countries. Housing 3 lights each, sitting in crystal bobec...

A monumental 20th century Spanish trestle table, having a rectangular framed solid walnut inset board top, resting on hand carved, classical lyre legs joined by four beautifully iron...

An elaborate, grand scaled, all hand blown and etched glass Venetian mirror with foliate and floral designs. From the area of Venice.

1900 Antique French Tapestry Wool & Silk Game 7x7 Square 6'5" x 6'7" 196cm x 201cm "This is an outstanding antique French Aubusson tapestry in a fantastic large square size- This wo...

Antique French Tapestry Verdure Bird 110cmx163cm Green 4x6 C.1900 "This is an outstanding antique French tapestry in a fantastic Verdure and Bird Design- This magnificent wool piece...

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...

Pair of circa 1900 Caldwell three lights gilt bronze sconces with unusual size and design with shells and flowers

Antique French Renaissance/Baroque Green Distressed Hand Painted Radio/Bar Cabinet Cupboard. Item features a 2 part construction, carved baroque style legs, wonderful hand painted co...

A circa 1900's French gilt bronze chandelier with rock crystal hangings (12 arms and 6 interior lights.).

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...

Porcelain plaque painted with Mary Magdalene by K.P.M. German, circa 1900 Measures: Frame: Height 32.5cm, width 26.5cm, depth 3cm Plaque: Height 25.5cm, width 19cm, depth 0.5cm ...

Antique French Tapestry Rare Fountain and scenery Large Tapestry 5x7 1920 Circa 1920 "A magnificent antique French tapestry depicting a scenic river including a fountain and a larg...

A late 19th early 20th century Berlin K.P.M. Porcelain Plaque titled "Der Eremit" (The Hermit) After the painting by Salomon Koninck (Dutch, 1609-1659)...

A beautifully ornate vintage bronze door knocker in solid bronze. Whether for a new or historical home, this unique threshold object speaks...

Very rare luxurious table mirror, France, 1900. Produced using traditional bronze casting technology. Fits perfectly into any classic or vintage interior. It will be a good gift for all bronze lovers. The magnificent design of the table mirror will be a delightful decoration for a cosmetic table...

Vintage 43" Tall Baroque Style Silver Plated Collapsible Floor Candlesticks in Funeral Box - a Pair. Item features original storage box with tag that reads "Philip McChesney Funeral ...

A very fine and elegant Baroque style iron chandelier, France, circa 1900. Dimensions: Height 32" x Diameter 25" NI950.

Baroque style solid brass double inkwell set with letter holder, c. 1900-1910. A gorgeous desktop accessory ornately adorned with cherubs, flowers and scrolling acanthus leaves. In...

Housing six lights sitting in crystal bobeches dripping with vintage crystal prisms. Will be rewired with certified UL US sockets for the USA an...

Solid wood with various inlays. Beautifully turned. This type of furniture was very popular in Europe in the 19th century.

Antique French Aubusson Tapestry Birds Wool & Silk Large 5x9 1900 4'10" x 9'2" 148cm x 280cm "This is an outstanding antique French Aubusson tapestry in a fantastic large square size- This wool & silk treasure incorporates impeccable attention to detail- Depicting a scene of Hermes and Mercury...

having square tops with molded edges atop shaped aprons atop splayed square tapering legs joined by straight stretchers, the smaller h. 19, w. 13, d. 13

A monumental 20th century Spanish trestle table, having a rectangular framed solid walnut board top, resting on hand carved, classical lyre legs joined by beautifully iron stretchers...

A very fine and impressive pair of gilt bronze and crystal wall sconces. Originally for gas, now electrified. High quality bronze work. Original gilding. Dimensions: H. 25", W. 28",...

Housing a rare 3 lights each, sitting in crystal bobeches, dripping with murano drops. These will be newly wired with certified US UL sockets for the USA and appropriate sockets for...

Antique French Aubusson Tapestry Birds Wool & Silk Large 5x9 1900 4'10" x 9'2" 148cm x 280cm "This is an outstanding antique French Aubusson t...

Housing a rare 3 lights each, sitting in crystal bobeches. One of a kind sconces! Completely beaded. Swags of crystals throughout. Each adorning extremely rare sea foam green Mur...

Belgium / 1900 / painting / canvas, wood / Antique / Baroque / Rococo A large Baroque painting with gilded wooden frame, Belgium ca. 1900. Signed in the left corner. This stunnin...

Wonderful print Chromolithograph Published by Connoisseur circa 1900 Unframed.

Housing three-lights each, sitting in crystal bobeches on top of giltwood posts. These will be rewired with certified US UL sockets for the United States and appropriate sockets for ...

Richters German anchor blocks building toys / Der Geschickte Baumeister Made in Rudolstadt, Germany, circa 1900. Wooden box with printed paper labe...

Pair of Baroque Style Pier Mirrors, Germany circa 1900 – Hand-Carved and Hand-Painted This decorative pair of Baroque-style pier mirrors was crafted in Germany around 1900, showcasi...

Inlaid walnut two-drawer side commode with concave block front, Italian, circa 1900, with shaped, molded top and half moon carved dentil molding below, with highly desirable concave ...

This captivating 19th-century still life oil painting by the award-winning French artist Charles Henri Franzini d'Issoncourt is a testament to his artistic talent. Recognized at the ...

A pair of circa 1920's Caldwell silver plated sconces with waves design and unusual arms, two lights

Original oil on canvas painting by the very talented French artist Charles Henri Franzini d’Issoncourt who won an award in Paris at the Universal Exposition in 1900 for his artwork. ...

France / 1900 / church candlestick / bronze / Antique / Baroque A large traditional church candlestick with pen on tripod baluster shaped base with three ball feet. A beautiful pie...

A Dutch, Baroque style, 6-arm chandelier created circa 1900, a beautifully crafted, solid bronze piece with an antique silver finish. Newly wired. Measures: 24.5” height x 25.5" diam...

Vintage Dutch Country French Baroque Style Silver Plated Figural Jewelry Box. Circa Early 1900s. Measurements: 1.5" H x 8" W x 6" D.

A Florentine carved giltwood tapering hanging lantern in the Baroque manner, each corner supported by figures, with an acorn finial and cupula domed canopy. The interior painted blue.

These handmade carpet luxury rugs look beautiful and would stand out as dining room rugs or bedroom rugs as an interior design object. These washable rugs are one of a kind and canno...

Baroque Style Putti Letter Rack with 2 Inkwells This is a very grand desk top inkwell, the letter sections are decorated with Putti and Cherubs th...

An antique central medallion rug is a fine example of an Antique Rug woven in the 1900s. Handwoven with intricate details in orange blue and red accent colours. The design features a...

- Newly upholstered in velvet fabric - Wooden legs have been refurbished - Height of seat 43 cm.   

1 original bench from the 1900 period in oak These bench is very well made, very light and nevertheless very solid, because although not restored there is no lack or broken bars.