Furniture on Sale

Via Como  - 'Royal Palace' Rug - Size 10' x 13' Material: 85% Wool - 15% Silk It is a one-of-a-kind rug and a rare piece. A truly remarkable work of art. This rug has been hand-kno...

Via Como - 'La Fontaine' Rug - Size 10' x 13' Material: 100% Wool It is a one-of-a-kind rug and a rare piece. A truly remarkable work of art. This rug has been hand-knotted with th...

'Barocco' Rug -  Size 8' x 10' Material: 100% Wool It is a one-of-a-kind rug and a rare piece. A truly remarkable work of art. This rug has been hand-knotted with the finest New Ze...

'Mille Folliage' Rug - Size 10' x 13' Material: 85% Wool 15% Silk It is a one-of-a-kind rug and a rare piece. A truly remarkable work of art. This rug has been hand-knotted with th...

'Ferutage Rosso' Rug - Size 9' x 12' Material: 100% Wool. It is a one-of-a-kind rug and a rare piece. A truly remarkable work of art. This rug has been hand-knotted with the fines...

Via Como - 'Ferutage Bianco' Rug - Size 9' x 12' Material: 100% Wool It is a one-of-a-kind rug and a rare piece. A truly remarkable work of art. This rug has been hand-knotted with...

Via Como - 'Royal Palace Soft' Rug - Size 10' x 13' Material: 85% Wool - 15% Silk It is a one-of-a-kind rug and a rare piece. A truly remarkable work of art. This rug has been hand...

Pair of custom pillows made with 18th century metallic and silk velvet appliqués on cream velvet with silk backs. Handmade metallic tape detail. Down inserts, zipper closures.

A Spanish Fratino dining table with hand made wrought-iron stretcher from the late 19th century. This Spanish wooden table features a sturdy rectangular top sitting above an exquisit...

Via Como -  'Chateau' Rug - Size 6'7"x 9'10" Material: 85% Wool - 15% Silk.

19th century Italian hand hammered painted and parcel gilt metal panel. The panel is decorated with gold leaf flowers swirling throughout.

Via Como - 'Versailles Due' Rug - Size 6' x 9' Material: 85% Wool - 15% Silk Introducing Via Como, the pinnacle of ultra high-end hand-knotted rugs. Renowned for their unrivaled ar...

This impressive pair of 19th century Italian torches are a sublime work of European Baroque art. Carved in golden wood, it gives us an exquisite decoration of angels among fruits and...

Unique piece 19th century Spanish refectory table. Beautiful console. Impressive farm table with carved legs. Geometrical bowls four legs. Completely restored.

Via Como -  'Animal Baroque' Rug - Size 6' x 9' Material: 100% Wool Introducing Via Como, the pinnacle of ultra high-end hand-knotted rugs. Renowned for their unrivaled artistry and...

Immerse yourself in the grandeur of our Antique Baroque Buffet, a hand-crafted masterpiece made from premium walnut, and meticulously restored b...

Exceptional 19th century Japy Frere France mantle clock and matching garnitures set. Made of enamelled brass. Impressive mantle set, with intricate gothic swags highlighted in black champlevé enamel, along with a lion head and lion claws feet. Both the garniture/candlesticks and the clock are in fine working condition. The clock only needs very minimal winding. Stamped 'Japy Freres & cie medaille d'honneur' numbered 4937. Comes with a recent certificate of service from a local reputable antique clock...

An elegant Baroque style rectangular mirror featuring a hand-carved frame made of ebony with a tortoise frame, an unusual mix which adds style to this classic design. The mirror corn...

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...

19th century carved walnut folding scissors Savonarola bench or settee featuring a carved shields in the back leather. Typical of the Italian Renaissance with carved Florentine structure . This pair created in the 19th century, most likely 1840s-1850s, are in good condition, the wood restored but the leather is damaged. The Savonarola chair is a type of folding chair with an X-frame when viewed from the front or back. It was designed to fold so it was portable and used during campaigns or other outdoor pursuits. The title Savonarola comes from the name of Italian Renaissance Dominican friar, Girolamo Savonarola, who is renowned for his clash with tyrannical rulers and corrupt clergy. This pair would make perfect hallway or entryway chairs...

19th century French bench made from oak. The back is exquisitely hand carved with two differents motifs, surrounded by decorative carvings. The sides are made up of matching decorati...

Early 20th century solid brass chandelier with five lights done in a Baroque style. Takes five standard household medium base ligh...

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 Ma...

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 ...

Early 19th century Italian baroque faux-painted console hails from the master artisans of Venice, the storied city that rises above the northern tip of the Adriatic Sea as if by magi...

Pair of 19th century Italian console tables 90x117x55cm Half-moon console in carved, lacquered and gilded wood. Good condition f...

A beautiful Italian Still Life oil painting on old canvas of an urn holding a bouquet of assorted flowers set on a ledge. 17th century....

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...

Pair of 20th Century decorative Venetian canal paintings, After Canaletto Each one Signed 'Maffel' A stunning pair of late 20th Century oils on canvas, views of the Grand Canal in Venice Italy, in ornate carved giltwood frames. After works by the iconic Venetian painter...

An impressive Pair of Early 1900s French Gilt Spelter Cherub 5-light column Table Lamps. Column base on 4 paw feet under 4 cherubs, a cannelure body. Measures 6.5 inches square bas...

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

Pair of custom pillows made with unique vintage Fortuny textile fronts. The Fortuny fabric is a soft aquamarine color combined with a dark silvery pewter background. Crisp white line...

Round table snuffbox in 925/1000 sterling silver gold plated with translucent blue fired enamel on guillochè and with the insertion of pure gold “paillons” in the shape of stars to c...

Pair of custom pillows made with authentic avocado and silvery gold Fortuny fabric fronts and soft brown linen backs, self cord detail. Down inserts, sewn shut.

An 19th century Spanish baroque desk, or writing table made of solid oak with lyre shaped legs joined by solid wood stretched. Two drawers with original iron drawer pulls. The top is...

Outstanding piece representative of Spanish Baroque Art. It has a corner Console , the polychromy is the original, preserved in Venetian red, which...

Truly one of a kind pair of old handmade reclining lions. These are unsigned and used a mixture of clay and fiberglass fibers. They show very heavy signs of loss over the years b...

Amazing Rectangular Burgundy leather jewelry box with gold Embossing and Bevelled Lei With Multiple Code of Arms. Signed / Marked Made in Italy and Genuin...

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...

Very important beautiful and elegant oval wall mirror of the period baroque, 1750. Made entirely of carved and gilded wood with gold leaf. The rich carving decoration with volutes an...

Late 18th Century Baroque Florentine Hand Carved Giltwood mirror Large late 18th century spectacular Baroque period mirror, profusely hand carved...

Italian style gilt metal ceiling fixture that depicts a gold sunburst. We can make this in both silver & gold and we can make as many as you need.

Pair of contemporary velvet pillows made with 18th century Italian Baroque appliques attached to red velvet fronts. Red silk backs. Down inserts, zipper closures.

Baroque sculpture in walnut, central Italy 17th century. The male figure, created to be seen in an elevated position with respect to the observer and originally part of a larger scul...

Large French baroque wrought iron door lock on acrylic stand.

The dimensions of this elegant model glass are bigger than usual and for this reason it becomes an eye catching on your table. The baroque shape is a timeless style for every occasio...

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 ...

Antique bathtub in Carrara white marble with rings 18th century Height 60 cm Width 76 cm Length 176 cm Internal depth of the basin 50 cm Weight 300 Kg ...

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...

This large domed 18th Century Baroque Chest is made with solid oak and mounted with decorative iron strapwork and handles. It is a handsome...

Beautiful and large ( ø 75 cm ) clear art glass "Barrochi" chandelier designed by Barovier and Toso for Compagnia Di Venezia E Murano "CVM" In Italy. This chandelier is handmade in t...

A unique design of master carving from La Maison London. A hand carved Four Poster bed frame, in the Rococo style, which also doubles as bunk bed. The top sec...

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

Fine tall German late 17th century Baroque walnut throne armchair with a rectangular arched padded back and seat covered in 17th century Gobelin depicting ‘Susanna and the Elders’ wi...

Italian Baroque Figural Bench/ Settee 18th century or older, some later support added A quietly stunning figural Italian Baroque Bench/ Sett...

Custom petite vibrant yellow pillows made with 19th century metallic & chenille appliques . Yellow silk on backs. Down inserts, zipper closures.

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...