Baroque Furniture

19th century Baroque bed, original Lisbon bed This Queen size 4-poster bed is hand carved with elaborate details, spiral turned post, 3D open spiral twist ...

A stunning grand Italian midcentury Venetian Baroque patchwork burlwood sideboard. Exquisitely handcrafted of warm richly figured burled walnut, born in the Veneto region of North...

Stunning , well crafted multipurpose bunch bowl Keep your wine or champagne chilled in style with this elegant round bowl, crafted in India circa 1970 and sitting on a round base wh...

Ornately-Carved Walnut Carving of an Angel. France, circa 1700s. Possibly from a ship or country estate.

BAROQUE GILTWOOD CONSOLE TABLE Probably Italian circa 1740 33 9/16" H x 24 3/8" D x 40 5/8" W This sculptural console table is a fine example of the Italian Baroque aesthetic execu...

A rare pair of Flemish 18th century "Verre Églomisé" Reverse Glass Paintings, each depicting riverfront scenes with figures, fishermen castles, co...

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...

Large French baroque wrought iron door lock on acrylic stand.

These Fortuny pillows feature a striking and elegant design that draws on classical motifs with a sophisticated execution. The fabric showcases a cornucopia (horn of plenty) overflow...

Inspired by ancient bas reliefs and petroglyphs, the Star Platinum Cabinet features intricate carvings and textural elements. The sinuous forms of the base feel like a mutated filigr...

Discover a truly exceptional and generously sized two part vitrine / display cabinet, expertly crafted in the opulent Dutch Baroque style. Its beauty lies in the exquisite walnut ve...

Shield form with a crown over a coat of arms with different symbols, the frame carved and gilded in the baroque style. From the Michael Kittredge collection.

Refined and elegant chandelier. Can match any style from contemporary to classic and antique interior designed as well. The theme is full of gener...

Magic flute coffee dessert service by Rosenthal Bjorn Wiinblad 24-karat plated by Rosenthal Bjorn Wiinblad 24-karat plated, mint condition set for six with milk and sugar bowl on a 2...

The upper case with swept pediment and stepped molded edge fitted with 11 drawers and an arched door. The lower case with a slant front opening over a well above three long drawers e...

17th century Antique Flemish Tapestry Wool & Silk Verdure Art Nouveau 4x6ft 122cm x 178cm "This is a very fine high quality rare authentic Antique Frenc...

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

18th century French Walnut Commode, Castres, Pyrénées, c. 1760 Dry walnut, Original Pulls, later Escutcheons H: 32 D: 24 W: 50 in.

Etched And Beveled Venetian Mirror. Offered is a lovely vintage beveled Venetian mirror with an interesting scalloped etched design of applied sections of mirror. Our Venetian mirror...

19th Century Spanish Baroque ebonized side or working table with wood stretcher and top in walnut. We have a matching smaller coffee table, you can see it in the last picture.

Meissen (German, founded 1710), circa late 19th century. A set of 4 antique Meissen blue onion pattern knife rests. Each marked appropriately.

A French baroque single drawer side table in walnut having molded top above single drawer with triangular ring pull. Legs and stretcher retaining ebonized highlights and with particu...

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,...

A very fine baroque Franco-Flemish 18th century figural tapestry allegorical to triumph and love, depicting three maidens within a verdure backgro...

This elegant frame with projecting corners surrounding a rectangular mirror will be a perfect accent on your entry wall.

Antique German Baroque dome top painted walnut sea chest, dated 1784. The chest having a hinged dome top with iron strapping, the interior of the lid having hand-forged strap hinges and original hand-forged iron lock...

This a print of the iconic The Blue Boy by Thomas Gainsborough from around 1770. It is believed to be a portrait of Jonathan Buttali, the son of wealthy ironmonger. This print come...

Set of four dining chairs by Kreiss collection Hollywood, CA. Palazzo chairs made in the Italian Baroque style from handcrafted hardwood frames. The set...

Stylish antique iron gate coffee table with a 3/8" thick flush-mounted tempered glass top. Classical in styling, with rustic and Industrial infl...

A 19th century walnut console table with a slab top above a frieze with two drawers with front decorated with and edge in each drawer and a single original iron pull . The table is s...

A Large Pair of French 19th Century Baroque Style Free-Standing Serpentine Wrought Iron Wall Console Tables with marble top. The slender bowed wrought iron bodies surmounted with lea...

Monumental round walnut dining table crafted in the baroque taste. Designed by Therien Studio workshop for Dessin Fournir, Hollywood, CA. The rare volute dining table crafted from so...

Set of three circa 1876-1889 Haviland & Co Limoges porcelain plates featuring Royal Vienna baroque styling, gold encrusted swag floral / beaded borders of pastel green, pink, and pur...

A stately Baroque Rococo style wall hanging mirror by Maitland Smith, circa last quarter 20th century. Made from walnut with a rattan backing and ornate low relief painted embellish...

An important and most impressive pair of Roman late 17th/early 18th century Baroque Period Marble crest/plaques. Each stunning rectangular shaped marble plaque is designed in the sty...

This beautiful maiolica pottery charger is from Montelupo, Italy and is boldly decorated with a soldier walking, carrying a tool of the day. Vividly painted in yellow, green, and blu...

This distressed Credenza hand made and hand painted by an artist in Umbria, Central Italy was Sold but we can reproduce it with the same beautiful ...

A fine antique Dutch Delft vase or jar. The body decorated with cartouches of stylized peony bouquets on a latticework ground. The shoulder decorated with alternating cartouches of ...

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 ...

Side table of walnut with carved lyre legs with carved top with horse and cavaliers and so carved edges in top. Beautiful iron stretcher, Spanish, 19th century.

Vintage silver plated kiddish cups and caddy. Features baroque design with scalloped footed form and fitted glasses for ease of use. Measures: 8" x 8" x...

A stunning antique Italian Baroque style silvered metal gilded wood monstrance reliquary. circa 1770-1820 Handmade in Italy in the late 18th / early 19th century, commissioned by the church to display an important religious relic, sculptural painted wood form, mounted with decorative silver repousse metal facing, open oval window where the philatory relic was once housed, rising on a gold gilt painted shaped plinth base. Dimensions: (approx) 17" High, 8" Wide, 5" Deep, 1.25lbs History: Reliquaries (also referred to as a shrine or châsse in French), are containers used to protect and display relics. A portable reliquary may be called a fereter, and a chapel in which it is housed a feretory. A monstrance, also known as an ostensorium (or an ostensory), is a vessel used in Roman Catholic, Old Catholic, High Church Lutheran and Anglican churches for the display on an altar of some object of piety, such as the consecrated Eucharistic host during Eucharistic adoration or Benediction of the Blessed Sacrament. It is also used as reliquary for the public display of relics of some saints. The use of reliquaries became an important part of Christian practices from at least the 4th century, initially in the Eastern Churches, which adopted the practice of moving and dividing the bodies of saints much earlier than the West, probably in part because the new capital of Constantinople, unlike Rome, lacked buried saints. Relics are venerated in the Oriental Orthodox, Eastern Orthodox, Roman Catholic and some Anglican Churches. Reliquaries provide a means of protecting and displaying relics. While frequently taking the form of caskets, they range in size from simple pendants or rings to very elaborate ossuaries. The relics were enshrined in containers crafted of or covered with gold, silver, gems, and enamel. These objects constituted a important form of artistic production across Europe and Byzantium throughout the Middle Ages. Many were designed with portability in mind, often being exhibited in public or carried in procession on the saint's feast day or on other holy days. Pilgrimages often centered on the veneration of relics. The faithful often venerate relics by bowing before the reliquary or kissing it; those churches which observe the veneration of relics distinguish between the honor given to the saints and the worship that is due to God alone. Sixteenth-century reformers such as Martin Luther opposed the use of relics since many had no proof of historical authenticity and objected to a cult of saints. Many reliquaries, particularly in northern Europe, were destroyed by Calvinists or Calvinist sympathizers during the Reformation...

Dark walnut console table with three drawers resting on harp shaped legs and decorative turned stretcher. Elaborate hand carved details embellish the three drawers. The two outer dra...

20th century hand wrought iron six light chandelier adorned with rock crystal pendulum shaped drops and garlands of crystal beads throughout. Center crystal finial. This fixture is n...

Beautiful vintage Firenze style Italian wood serving tray. This piece is full of detail and style. The base is conjoined by brass bullet like details that hold the piece together b...

An antique pair of stunning French Baroque painted and partial – gilt carved architectural elements or wall panels, in good condition. These wall décor ornaments are very ornate and ...

Christie's Important Old Master Paintings catalog, New York January, 29 1999. This auction catalog consists of 206 lots, all color illustrations, with all lots described in detail. C...

19th century Baroque bed, original Lisbon bed This Queen size 4-poster bed is hand carved with elaborate details, spiral turned post, 3D open spiral twist spindles, and Moorish deta...

A wonderful and most unique Italian 18th century Baroque Period Mecca wall decor/mirror. This most decorative and rare carved Giltwood wall panel is set within an elegant mottled fra...

This is a gorgeous antique late 17th Century French Aubusson historical tapestry depicting a beautiful and rich summer scene of a countryside with lush trees and vegetation, with a m...

Italian (19th Century) four panel folding screen with brown and beige tooled leather panels featuring detailed floral designs, with brass nailhead trim and a black canvas-faced rever...

Double size Rococo Louis XV style carved French walnut bed painted white. Nicely carved cabriole legs with shells and finely carved crest on head bo...

Beautiful workmanship distinguishes this lovely French Writing Table which is both bold and diminutive. The triple sectioned top as well as all of the drawers and back panels feature...

Baroque and Rococo Architecture and Decoration Book by Alastair Laing, Anthony Blunt, and Christopher Ernest Tadgell. A study of a period in art ...

Pair of old master paintings by August Querfurt (1696-1761). Oil on panel, one signed with initials in the lower left. Two scenes depicting hawking parties from the 18th century. ...

Extraordinary long and narrow walnut table, with a massive one-plank top, over a frieze containing four drawers with typical wrought iron pulls, conforming carved decoration on all f...

This massive 19th-century Dutch carved wood and ebonized frame is a true statement piece, showcasing an extraordinary range of carving techniques. From an intricate basketweave patte...

Original antique table, octagonal in shape, very rare in design and color. It has two drawers wood hardware.

Mid-size Italian credenza with a deep warm patina, the molded top with a dentil-decorated edge above two drawers with brass knobs, separated by decorative acanthus scrolls, two doors...

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