Baroque Furniture

A Beautiful Italian Still Life oil painting on old canvas of a brass urn holding a bouquet of assorted flowers set on a ledge. 18th or ...

Our “Vernazza” Old Walnut 3-drawer dresser - The Italian Art Handcraft of fine custom antique reproduction. Available in custom size and configuration by quote - handmade to or...

Grand Baroque sterling silver flatware by Wallace. 32 pieces consisting of 8 dinner forks, 8 dinner knives, 8 large spoons for soup or dessert, and 8 butter knifes. Perfect to use im...

18th Century German Old Master Painting “ Diana and Endymion “ Signed This exceptional and beautiful allegorical painting is executed in oil on canvas. The canvas is painted in a ma...

19th century Italian carved wood Santo foot. This stunning antique Italian carved wood Santo foot of an Archangel dressed as a Roman soldier. This beautifully carved and gilded sculp...

Pair of vintage gilded bronze stands with inlay, circa 1940 Gorgeous pair of cast bronze stands with inlay We are unsure of the material used for the inlay. The inlay is hand paint...

19th century Spanish bench or low console table with carved lye legs in two side of both legs. Original iron pull hardware and heavy and rare iron stretcher That back has the same ...

Stunning & rare Italian venetian highly carved walnut Baroque upholstered arm chair~~ Besarel~~mid-19th century We recently had the good fortune to obtain this rare work of art~~an antique carved walnut arm chair...

An elegant pillow made from a 16th-century Brussels tapestry fragment, skillfully woven in wool and silk. The composition showcases grand floral blooms and fruit clusters framed by B...

Classic antique Baroque style dining chairs, in weathered wood, and leather. Both are structurally sound and sturdy, both show some cosmetic wear, normal and consistent with age. We ...

A multipurpose Spanish fratino table from the 19th century in handsome oak construction with stretchers of wrought-iron for dining, as a center table, or writing desk. Thick top plan...

18th century Italian walnut console circa 1721-1759. Nice thick single plank top with varied shades of brown in a mottled finish. Early pl...

As found in Denmark, we see this pewter tray being used for grapes and cheese with a nice bottle of wine by its side. Unbeatable wear and patina. Very charming piece to add to a coll...

An antique pair of Portuguese Baroque hand carved architectural wall reliefs, enhanced by richly ornate detailed scrolls, in good condition. Original painted patina with partial gilt...

Grand 20th century Spanish cabinet constructed from pine. Features a coffered case fronted by two doors in the high part and four drawers and two doors in the...

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...

Vintage Mid century provisional Hand made french side tables , hand carved with very pretty floral designs in the middle and on the edges. These two table will add enchanting charm ...

18th Century Italian Bookcase with Glass Doors 18th Century Italian Painted And Gilt Bookcase. This 18th century Italian bookcase is painted and parcel gilt and has 3 glass cabinet doors above for display, 3 drawers below and 3 wood cabinet doors at the bottom for storage. The paint decoration on this outstanding Tuscan bookcase...

A collection of 18 framed prints from engravings of musical instruments from the book by Gabinetto Armonico, which was published in 1722. The book had a total of 150 instruments. The...

A Large and Impressive Italian 19th Century Patinated Bronze Figural Torchere, after a model by Niccolò Roccatagliata (Genoa 1593 - Venice 1636). The triangular foot base with projecting putti supporting the stem and oval reserves within cartouche motifs, one containing the initials "S.D" with an olive tree in-between and a bull-head below. The stem knot with figures of winged caryatids and festoons and upper part with cherub heads, acanthus leaves and egg and bead patterns and topped with a later white glass globe. The decorative system refers to the documented artistic production of the Venetian workshop of Niccolò Roccatagliata and takes inspirational model from the base of the Renaissance bronze of the Scuola Grande di San Teodoro in Venice, a work signed by Andrea del Bartolomeo di Alessandri known as Brescianino. Electrified. Circa: Venice, 1850-1880. RELATED LITERATURE L. Planiscig, Venezianische Bildhauer der Renaissance, Vienna, 1921, figs. 661-664; C. Avery, 'Andrea del Bartolomeo di Alessandri detto il Bresciano" lavator di gettar di Bronzo": candelabri, satiri e battenti', M. Ceriana and V. Avery (eds.), L'Industria artistica del Bronzo del Rinascimento a venezia e nell'Italia settentrionale, Venice, 2008, pp. 233-252. Similar models of this torchere were part of the interior decor collection at the Vanderbilt Mansion in New York (see black and white photo). The Cornelius Vanderbilt II House was a large mansion built in 1883 at 1 West 57th Street in Manhattan, New York City. It occupied the frontage along the west side of Fifth Avenue from West 57th Street up to West 58th Street at Grand Army...

Italian, Majolica, Modern, Palatial Jardinière or Planter, Outdoor, Italy, 1930s An enormous terracotta and porcelain oversized Jardiniere or Planter of vibrant colorful design. The...

Matched pair of French Antique Baroque Carved Gilt Mirrors. Wonderful pair of French Baroque style carved gilded mirrors. Fruitwood with Gesso and gilding, in very good condition. ...

A rustic antique French Baroque carved oak tabernacle curiosity cabinet, 18th century or earlier, having an architectural form with elaborate molded cornice, over central niche, surr...

Mirror wall European black Baroque period 1650-1750 Northern Europe. A mirror made during the Baroque period in Sweden or Northern Europe. Black frame with a beautiful patina.   

An ornate and richly detailed Baroque-style console table, hand-carved in wood with elaborate scrolling motifs and floral embellishments. This dramatic piece features a shaped top wi...

Stunning 18th century card table, South Germany, 1760. Cherry, elm and walnut veneer and marquetry. The outside of the top decorated with a chessboard. The opened table top is covere...

Fantastic European wood pedestal with layered gold paint. This substantial table pedestal stand is certainly a versatile piece with many uses including on a kitchen counter, or the c...

Decorate a master suite with this elegant pair of vintage nightstands. Crafted in Italy circa 1970, each rectangular chest stands on shaped bracket feet over a molded plinth base. Th...

Pair of Italian Period Baroque Walnut Demi-Lune Console Tables, circa 1680 With a sobriety and a serenity of line, these tables are perhaps the most authentic form of Italian Baroq...

18th Century Italian Venetian Carved and Polychrome Headboard 18th century hand carved baroque frame with ochre polychrome, flower spreads and partly gilded decoration. The wall mou...

Magnificent late 18th-Early 19th Century Baroque Style Trumeau Mirror In green paint with gilt details. A carved top with a surround with paintted scenes of a castle, lake and figure...

A striking round center table featuring a hand-painted top with a cartographic motif of the Eastern Hemisphere. The surface is decorated in the style of a Renaissance map, with detai...

From Northern Spain, constructed of solid walnut, the rectangular top with molded edge atop a conforming case housing two drawers over two doors, the doors paneled with solid walnut,...

Pitcher ‘cantaros’ from Calanda, Aragon-Zaragoza area of Spain. A rare piece from a Private collection, circa 1890. Other examples can be seen in the Museo de Zaragoza. With gorgeou...

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...

Single pricket stick, of carved wood, having a pickled wood finish, on tripartite base with scroll feet. Electrified. Stock ID: D6973

This six panel Italian screen is from the Baroque period, circa 1700. The four central panels have been affixed to a foldable frame, while the two outer panels are detached. When all...

This handsome baroque oak library table with one drawer has heavily turned legs and an attractive X lower stretcher. Note the rich patina of the top, with stains and scratches the re...

An antique pair of high quality Cassapanca Walnut benches with the original finish, decorated with typical Italian Baroque motifs. The Cassapanche were used as storage in a castle in...

Pair of 19th C. Italian Baroque style candlesticks that feature eleborate scrollwork, floral motifs, and a multi-tiered structure. Each candlestick has a wide, decorative base with ...

the impressive vessel with everted lip above an ovoid body flanked by double mask handles all over a splayed foot; painted overall with a female figure and putti in a landscape setti...

A rare and exquisite fragment of 17th-century Florentine textile, showcasing the opulence of the Italian Baroque period. This piece features rich crimson velvet motifs—possibly silk ...

A finely rendered heraldic watercolor on paper depicting an elaborate composite coat of arms, signed lower right “E. Wenzel” and likely executed in the late 19th century. The work pr...

This Bargueno is a portable desk. The base is typically a Spanish table and dates from 19th Century. The upper part was added in the 20th century in England and dates from the Arts a...

Ebonized mirror dated to early-to-mid-18th century. Hand-carved ebonized frame surrounding old mirror glass (not original glass).

This is a pair of jaw dropping hand carved angles. Each figure is carved with an individual face and pose. Removed from a Church in Europe and brought to the States in the 1990's. Th...

In 15th and 16th century Europe, the works of blacksmiths from southern Germany were known far and wide. Demand for products by these skilled metal workers spread as far as the Scandinavian countries. Perhaps one of the most intriguing items that was produced by these workshops was the iron money...

Impressive French pedestal garden dining table or center table featuring a patinated bronze base topped with a thick slab of Italian travertine. The round top measures 1.5 inches thi...

This custom decorative pillow features a rare 17th-century Baroque textile fragment appliquéd onto a rich cinnamon-toned velvet. The antique fragment, likely part of a European embro...

From the storied Gilded Age firm of Minton, England we have 12 elegant cobalt blue with raised gilding plates that were custom ordered through the retailer Davis, Collamore and Compa...

Magnificent walnut hand-carved bench attributed to master artist Valentino Besarel (b. July 29 1829, d. Dec 11 1902) of Venice, Italy. Renaissance Revival. High quality; soft, fi...

Old Castilian chest of drawers from the early 20th century with two front doors decorated with panels and iron fittings and two drawers carved with floral motifs with iron dilators. ...

A resplendent pair of custom-made pillows by Melissa Levinson, featuring the iconic Fortuny “Carnavalet” textile. The front displays a grand damask composition of garden urns, floral...

19th century German, likely Berlin Iron Works, cast iron charger with mythological figures of goddesses, putti, various animals and fish in relief. T...

Vintage ornate Dauphine Harrison & Gil mantel / vanity mirror featuring ornate high relief carvings of foliate and fruit. Dimensions: 44" x 64" x 5"

A rare and exquisite fragment of 17th-century Florentine textile, showcasing the opulence of the Italian Baroque period. This piece features rich crimson velvet motifs—possibly silk ...

Early 20th Spanish desk with lyre legs and carved edges on top An 20th century Spanish Baroque style desk, or writing table made of solid walnut with lyre shaped legs joined by wrou...

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...

Pair of 19th-century painted wood and metal shield sconces hailing from Italy.

On offer on this occasion is one of the most stunning cabinet you could hope to find. This is an ultra-rare opportunity to acquire what is, unequivocally, the best of the best, it b...