Italy - Furniture

Beautiful Italian chair in carved wood with beveled and framed top seat, great back with carved coat of arms and bottom facial decoration, completed by the detailed carving on the st...

Pill Box Baroque shaped with pastoral miniature Sterling Silver Salimbeni .Baroque shaped pill-box with hand engravings and green fire enamel, with hand painted enameled miniature of...

Centerpiece in solid 800 silver in Baroque style. The dish is shaped on which a border made with the fusion technique with shell motifs and spirals typical of the Baroque style has b...

Baroque Style Mirror. Packaging with bubble wrap and cardboard boxes is included. If the wooden packaging is needed (fumigated crates or boxes) for US and International Shipping, it'...

Liturgical chalice in sterling silver. Volutes have been embossed on the base of the chalice, typical of the Baroque style, interspersed with hammered parts. A golden cup...

Bespoke Italian office swivel chair for presidential offices. Modenese Gastone Interiors designed and produced this item for a VIP client office in Mont...

Annunciazione con angeli, scuola romana del XVII secolo, olio su carta applicata su tela, misure 78x58.5 cm. Questo dipinto ad olio è stato realizzato su una carta, che, guardando in...

Housing six lights sitting in rare crystal bobeches. Will be rewired with certified UL US sockets for the USA and certified sockets for rest of countries, ready to hang. Macaroni bea...

Beautiful rare Italian hand carved marble font. Made of precious white carrara marble. Authentic of the period Baroque. Marble has the patina and the fascinating signs of wear due to...

Silver resin mirror by Lam Lee Group, 1990s. Packaging with bubble wrap and cardboard boxes is included. If the wooden packaging is needed (fumigated crates or boxes) for US and Inte...

Snuffbox Rectangular for table with rounded corners in sterling silver 925/1000 gold plated with very fine fire-enamelled miniature hand-painted by the painter Renato Dainelli repro...

Beautiful antique blanket chest in solid walnut wood, 1650s. The antique blanket chest also completely original and has great charm. Characteriz...

Gold-plated 925/1000 silver square photo frame with fire-enamelled Empire-style leaves on a rounded edge. External dimensions cm. 9 x 9, internal cm. 7.7 x 7.7. Weight gr. 87. Design...

A fine mythological etching by the great Italian engraver Antonio Tempesta (Florence, 1555 – Rome, 5 August 1630) printed by François L'Anglois or Langlois (12 May 1589 (baptised) – 13 January 1647),also called F. L. D. Ciartres (" Francois Langlois from Chartres"). Beautiful sheet , very sharp . The dimensions below are inclusive of the frame, the print without the frame measures 27x19 cm Antonio Tempesta, also called il Tempestino (1555 – 5 August 1630), was an Italian painter and engraver, whose art acted as a point of connection between Baroque Rome and the culture of Antwerp. Much of his work depicts major battles and historical figures. He was born and trained in Florence and painted in a variety of styles, influenced to some degree by "Counter-Maniera" or Counter-Mannerism. He enrolled in the Florentine Accademia delle Arti del Disegno in 1576. He was a pupil of Santi di Tito, then of the Flemish painter Joannes Stradanus. He was part of the large team of artists working under Giorgio Vasari on the interior decoration of the Palazzo Vecchio in Florence. His favourite subjects were battles, cavalcades, and processions. He relocated to Rome, where he associated with artists from the Habsburg Netherlands, which may have led to his facility with landscape painting. Among his followers was Marzio di Colantonio. Tempesta and the Flemish painter Matthijs Bril were commissioned by Pope Gregory XIII to paint wide panoramas of the Procession to Transfer the Relics of St. Gregory of Nazianzus (1572) for the loggias on the third floor of the Vatican Palace. He completed frescoes in the Palazzina Gambara at the Villa Lante in Bagnaia (1578-1609). From 1579–83, Tempesta participated in the decoration of the Villa Farnese in Caprarola, notably of this villa's Scala Regia. He is also known to have collaborated on frescoes in the Villa d'Este at Tivoli and the Palazzina Gamara at Villa Lante, Bagnaia. He painted a series of turbulent and crowded battle scenes for the Medici. He also completed a series of engravings on outdoor courtly hunting scenes. Tempesta painted frescoes for the Palazzos Colonna, the Doria Pamphilj, and for the Marchese Giustiniani in his Roman palace, where Tempesta collaborated with Paul Bril, and at Bassano di Sutri. He painted a Massacre of the Innocents for the church of Santo Stefano Rotondo in Rome. Tempesta is now best known as a printmaker in etching and engraving. He also left numerous etchings, among them: Plates from the Old Testament; twenty-four plates from the Life of St. Anthony; a set of 150 prints from Ovid’s Metamorphoses; 13 plates on The Labours of Hercules and four plates on respectively The ages of man; The entry of Alexander into Babylon; Diana and Actaon, and The crucifixion (1612). In 1612 he engraved a series of plates under the title "Batavorum cum Romanis Bellum" after designs of the Netherlandish artist Otto van Veen, also known as Vaenius (1556-1629) and court painter to Alessandro Farnese. Van Veen was influenced by the Italian mannerists but had developed his own style anticipating the Flemish baroque of his pupil Peter Paul Rubens. The series consists of 36 numbered engraved plates and illustrates the armed struggle between the ancient Dutch tribes and their Roman oppressors as narrated in Tacitus' Histories. Each plate bears at the bottom an engraved legend in Flemish and in Latin while a detailed explanation is printed on the otherwise blank verso. Plate I, signed 'Ant.Tempesta f. Anno 1611', shows 'Roma' and 'Batavia' in battle dress with respective scenic backgrounds, symbolizing the two nations. Fifteen other plates bear Tempesta's monogram. The plates depict heroic events, sieges, and battle scenes. This historicist work was very popular in its time. Tempesta also drew many designs for tapestries. François L’Anglois or Langlois (12 May 1589 (baptised) – 13 January 1647), also called F. L. D. Ciartres ("François Langlois from Chartres"), was a French print publisher, print seller, engraver, bookseller, art dealer, and painter. He is widely considered to have been the first important print publisher in France and to have contributed significantly to spreading awareness of contemporary artists' work throughout Europe. François L’Anglois was born in Chartres and baptised there on 12 May 1589. He visited Italy on several occasions: Rome in 1613 and 1614 and Genoa, Florence, and Rome again in 1621. On these trips he met Anthony van Dyck and Claude Vignon, who both painted his portrait. He also became acquainted with the engravers Stefano della Bella and François Collignon. It was probably around this time that he acquired the nickname of Chartres (Ciartres in Italian). In 1624–1625 he was associated with Vignon as an art dealer (paintings) and acted as a print collector for Thomas Howard, 14th Earl of Arundel, and Charles I of England...

Set di quattro Calici fatti a mano in vetro soffiato artistico di Murano verde smeraldo e la lavorazione della foglia d'oro 24k La lavorazione dedicata di ogni gambo, come il fior...

Late 1700s inlaid dresser from Holland. This dresser is small in size but enormously elegant is wavy at the sides and inlaid with floral motifs on each side. I bought it in France bu...

18th Century Four Italian Baroque Carved giltwood Chairs The four fine chairs were made in Rome (Italy) around the middle of the eighteenth century in the Baroque era. The carve...

Dutch mahogany corner piece late 1700s period Fully inlaid with internal drawers. It is still deliberately to be restored because it is important for the buyer to see its original pa...

Antique Italian console from the late 1800s. The Italian console table is a very precious and elegant decorative element. It is made of white marble as a base, while its structure is...

Presenting an elegant and antique French round table, dating back to the 1800s. This remarkable piece exhibits exquisite and valuable featur...

Antique painting, Flemish, flowers, Banks after Van Huysum Oil painting on canvas, from the 18th century, depicting a refined floral composition, made by a follower of Van Huysum, B...

Italian Baroque style coffee pot in 800 solid silver, perfect copy of a coffee pot made by Domenico Tiomi in the first half of the 1700s. The exceptionality of the original piece, as...

Beautiful refined baroque style outdoor architectural frieze, circa 1920s in cement. Beautiful baroque revival with curls, swirls and a large central shell. This type of architectura...

Octagonal notched photo frame in 925/1000 sterling silver gold plated with fine fire-enamelled baroque style engraving. External dimensions cm. 14.2 x 17.8, internal oval cm. 8 x 12....

Refined Italian sculpture in composite material recently manufactured. A beautiful wall shelf characterized by an elaborate Baroque style decoration with curls and volutes, in the ce...

Masterfully executed wrought iron floor lamp, forged body with square profile of generous thickness are covered with wrought iron leaves, presence of handmade screws. excellent quali...

Vintage Pair of Candlesticks, Italian Baroque style, 19th century. Pair of big candlesticks is a very refined decorative object in brass and gilded metal. 55x14 cm each. Ve...

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 ...

Two beautiful antique and light friezes in gilded wood: one is cm. 40x16,5 x depth 3. The other one is cm. 36 x 30,5 x depth 3,5. To put where you want.

Rectangular table box in sterling silver 925/1000 gold plated with very fine hand-engraving Baroque style on the lid, fire-enamelled in 2 colours. In the center an ancient oval plate...

Lombard baroque wardrobe in walnut, Italy, early 18th century. Top indentation, front equipped with a pair of paneled doors with wooden frames; paneling also present on the sides. Ca...

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

Beautiful etching representing the classic religious subject of the "Adoration of the Magi" by the Baroque painter and engraver Pietro Testa known as il Lucchesino. The print derives from an oil on canvas of the same name now in Montpelier. Identified by the TPL monogram on the right and the dedication signature. Paolo Bellini in the book "L'opera incisa di Pietro Testa" (The engraving work of Pietro Testa) ,published in 1976 by Neri Pozza in Vicenza, identifies this work as an example of the third state of three since, respect to the second state, the address of Gio Giacomo Rossi is added . In the lower margin there is the dedication in Latin to: Most illustrious and most reverend (cardinal) Gerolamo Bonvisi, Cleric of the Apostolic Chamber, D.D. The star on the left often blushes with the light of evil / Kings live here so that they recognize the Lord, / happy face good star shines benignly./ Petrus Testa Pietro Testa (1611–1650) was an Italian High Baroque artist active in Rome. He is best known as a printmaker and draftsman. He was born in Lucca, and thus is sometimes called il Lucchesino. He moved to Rome early in life. One source states he was ejected from the Cortona studio in 1631, soon after joining the workshop. Others state Testa trained under Pietro Paolini or under Domenichino, for whom he worked under the patronage of Cassiano dal Pozzo. He was friends with Nicolas Poussin and Francesco Mola. Some of his etchings, which often include work in drypoint, have a fantastic quality reminiscent of Jacques Callot, or embellishments of his Genoese contemporary Giovanni Benedetto Castiglione and even presciently suggest William Blake. His Sacrifice of Iphigenia appears to have influenced Tiepolo's rendition at Villa Valmarana Ai Nani in Vicenza. His early prints, from the 1630s, were often religious and were influenced by Federico Barocci...

17th Century, Italian Baroque Walnut Chest of Drawers This chest of drawers was made in Lombardy in the Baroque period at the end of...

Rare Italian antique hand carved marble font. Made of fine hand-sculpted Italian white Carrara marble. The column has a beautiful turning. The large basin has a typical Baroque decor...

800 solid silver potiche. Completely handmade this "lidded vase" has been embossed with scrolls which make it typically in the Baroque style. Masterfully executed, this vase among superlative embossing has been knurled, i.e. tapped thousands of times with a very small hammer, making the embossing evident and creating a perfect chromatic contrast. The lid has the same design and workmanship. The important knob was made with the fusion technique to then be screwed and therefore detachable for cleaning the vase. When it comes to potiche vase...

Housing 6 lights, sitting in bobeches dripping with vintage blue crystals. Will be rewired with certified UL US sockets for the United States and ...

Rectangular table box for cigarettes in sterling silver 925/1000 gold plated with hand-engraved design in Baroque style with two-tone fired enamels. Measure cm. 6.5 x 10.2 x 2. Weigh...

Versailles style chair. Single piece upholstered in velvet with a high back that allows you to be comfortable. Made in Italy Created and designed by Mice di Domenico Rugiano.

Baroque style shaped table box in 925/1000 sterling silver gold plated with fine hand engraving interspersed with spaces with translucent fired enamels on guillochè and a beautiful h...

18th Italian wardrobe in solid alder with two doors, internal color in original patina. The exterior is hand painted with period decorations. This is the original painting, so it...

Double door safe Northern Italy, 17th century Measures 190x130x46.5 cm Walnut structure made with very thick boards (6.5/8 cm) covered with i...

Cups in coconut such as this are especially uncommon and rarely appear on the world's art market. This is a very interesting piece for its fine and rich craftmenships metal silver de...

Beautiful big French wood gold starburst. Amazing patina. Gold wood with mirror in perfect shape. Mirror itself measures 5 inches round. The wood is a bit convex, so mirror stands ou...

This monumental piece of furniture, of Veneto-Alto Veneto provenance, made entirely of lacquered fir wood. Full seventeenth century (ca. 1650) is presented as an imposing double-bodi...

Coppia di vetrinette napoletane in legno dorato e intagliato con scaffali in vetro e luce interna. Il velluto interno è originale. L'impianto elettrico è stato rifatto.

Italian Baroque carved gilt and lacquered wood center table, 18th century This particular center table is made of golden and lacquered in ochre finely carved wood with rich floral decorations. The band below the top has a perforated ornament with volutes, phytomorphic elements and rocaille taste, characteristic of the Louis XV era. The legs are arched and moved with curly foot. They are joined together by crossed crossbars that create a refined game thanks to the richness of the carvings. The structure is made with ancient material of Turin (Italy) manufacture of the eighteenth century. The oblong and octagonal top was made in the early years of the twentieth century, in wood treated with faux yellow marble. The table is elegant and very decorative, easily combined, thanks to the light color, with both antique and modern...

Console miniature in 925 silver with mirror and marble top, wooden details. This miniature was made in 925 silver with the fusion technique. The supports under the top depict three...

Oval centerpiece completely handmade and with 24kt golden internal finish. The piece was modeled by hand from a flat slab of solid 800 silver, padded and embossed with ashlar motif ...

An Italian walnut, parquetry bureau cabinet fruitwood inlaid with scrolling foliage, The upper section with a shaped carved cresting, a shaped doors opening to reveal three shelves, ...

" Ceres and Phytalus" To left, Phytalus, kneeling, receives the fig tree from the goddess Ceres, standing to right, as a reward for his hospitality. Etching and drypoint, circa 1662...

18th century, Pair of Italian Inlay Wood Corner Cabinets Measurements: cm H maximum 183 cm x D 56; top H 92 cm This refined pair of corner cabinets was made in Piedmont around the...

20th Century Louis XIII style solid walnut round coffee table, fully restored and shellac polished.

antico stelo con campanella, ad uso ecclesiastico. si tratta di un elemento a sostegno della campanella (uso convento) . base a forma ottagonale in ferro pesante. colonna decorata co...

18th century, French Painting with Landscape with Ruins Measures: frame cm L 165 x H 95 x P 10; canvas cm L 142 x H 71 This painting depicti...

"Arch dedicated to Hercules" and "Arch dedicated to Bellerophon" Splendid and very rare etchings belonging to a suite of subjects executed for the preparations of the "Celebrations for the entry into Antwerp of the Cardinal-Infante Ferdinando of Habsburg-Spain on 17 April 1635". The sketches for the decorations were all drawn by Sir Peter Paul Rubens and the execution of the etchings was entrusted to Van Thulden. Bottom left: P.P. Rubens. Bottom right: G. Gervatius (who was commissioned to bring together the illustrations of the arches in a special volume) and Van Thulden. Laid paper with watermark - copper imprint - margins - excellent condition. At the end of 1634 Peter Paul Rubens (1577-1640) was invited to make a series of drawings to decorate the city of Antwerp on the occasion of the solemn entry of the infant cardinal Ferdinand of Habsburg (1609-1641) who, after his death of Archduchess Isabella Clara Eugenia (1633), Spanish governor of the southern Netherlands, had been elected as his successor. Generally in these circumstances, the itinerary was articulated through a series of stations and the city - in its main urban hubs - was adorned with decorations and ephemeral apparatuses which, without solution of continuity, covered the facades of the palaces, churches and convents facing the parade axis of the celebratory itinerary, testifying to the participatory role of the various public and private institutions that took part in the feast1. As had happened for the entrances of Charles V in 1520, of Philip II in 1549 and of the archdukes Albert and Isabella in 1599, also in this case, on 17 April 1635, the most important streets and squares of Antwerp were enriched with arrangements: temporary altars, four scenarios, a portico and large triumphal arches built in wood, over twenty meters height, decorated with paintings, sculptures and allegorical scenes. The references to the ancient alluded in this case to the greatness of the Habsburgs and to the merits of Ferdinand for the victory obtained over the Protestant armies of Sweden and their German allies. The choice to use the triumphal arch has its roots in the "city of the popes" and must be read as a connection with the triumphal and modern arches, with Rome and with the "possession" ceremony, placing the emphasis on its centuries-old use . In the elaboration of the drawings and sketches Rubens proved to be a true connoisseur of architecture, but what is most surprising about the artist is the casual use of architectural language and fidelity to sixteenth-century Roman models. In order for the memory of these works to be perpetuated over time, some artists were commissioned to etch the ephemeral apparatuses and, under the guidance of the painter Theodor van Thulden...

Set of four baroque style chairs (late fifteenth century), made in the late 1800. The characteristic of this style lies in the wavy lines, the harmonious curves and the search for co...

Francesco Maria Raineri, known as Schivenoglia (Schivenoglia, Mantua 1678-1758) Esther and Ahasuerus oil painting on canvas Size: 52x137 cm Work exhibited during the exhibition dedicated to the homonymous painter: “Francesco Maria Raineri - Lo Schivenoglia 1676-1758, works from private collections” and published in the catalogue, page 13. Esther is the daughter of Abicàil of the tribe of...