Baroque Furniture

This antique Italian Rococo 17th century throne armchair sourced in a palazzo in Rome, features swirls, curls and foliate motif richly hand carved...

A monumental and most impressive Italian 18th century Baroque period Giltwood mirror. This stately large scaled mirror with all original gilding and mirror plate is made with elabora...

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...

An outstanding Italian 19th century Baroque st. giltwood mirror. The original beveled mirror plate is framed within a most decorative fluted pattern. Extending along the base and up ...

Rare and important antique wardrobe in solid poplar wood made in early 18th century of the period baroque. Internally equipped with two shelves and in the central part a rod for hang...

A stunning Italian Florentine baroque rococo style wall mirror Italy, Circa 1960s Gold gilt wood, with mirror. Measures: 6"W x 1"D x 4.75"H. Very good original vintage condition.

1950s EBONY ELEPHANT DECORATIVE ELEPHANT FROM THE 50'S IN EBONY AND BONE . MEASURES: 28 CM HIGH good condition.

This antique stunning portrait of Madonna in Sorrow came out from a Palazzo in Florence and an absolute eye catcher. The colors and details are incredible and very typical for an Ita...

This masterfully carved and lacquered Italian wooden female bust exemplifies the exquisite artistry of 18th-century religious artistry. Crafted with exceptional skill and precision, ...

Our classic Lira Style dining table expands with extension leaves inserted in the table ends, offering an option for entertainment seating: Old Walnut Refectory table with lyre-shape...

This exceptionally carved Baroque period Italian mirrored mercury glass giltwood wall hanging / mantel mirror captures the reason why we love Eur...

Pair of 17th Century Spanish hand carved stone griffins. Originally forming part of a carved door surround from Gerona, displayed here on bespoke iron ba...

18th century carved Venetian polychromed gondola figurerhead, realistically carved and painted, raised on a 6.5" diameter base.

Rare Italian Silver bed headboard Italian barocco style. One sheet of sterling silver embossed and chiselled by hand with typical Italian Barocco swirls....

A late 18th century Italian armoire cabinet in the Baroque style with handsome, elongated bun feet. Circa 1780. This cabinet has been han...

A extraordinary pair of table supports, in wood with layers of gold, and with deeply carved foliate leaves, on a ( later) base , with original wooden scrolls, also deeply carved and with the same layers of gold. Both pieces were part of an important staircase, from a noble house...

Small baroque collectible frame made of richly carved and gilded wood. Italy, Emilia, 17th century. Original gilding. Signs of time and small old restorations. Measurements Ea...

Set or pair of robustly carved silver Giltwood wall trophies or wall appliqués .In the baroque style with dramatic acanthus scrolls and flourishes .Of wood with iron hangers on back....

A stunning and most impressive Italian 19th century Baroque st. Pietra Dura marble, Wrought Iron, and Giltwood coffee table. This attention grabbing rectangular table is raised by tw...

A carved and hand painted Venetian commode decorated with delicate flowers, leaves and scrolls. The inset sides fully decorated as well. 3 drawers are...

A lacquered wood sculpture of a sitting Cherub hand carved and painted in Italy in the early 18th century. The cherub has been mounted on late 19th century on a wood base. It's in or...

An elegant eight-light chandelier in milk-colored Murano glass and sophisticated fuchsia pink finishes. With a centered bulbous column that emits branches and flowers and finely cuts...

The Archangel Raphael and Tobias, 17th-Century School Oil on canvas This 17th-century painting depicts one of the most renowned episodes from the Book of Tobit: the young Tobias, ac...

Italian sculpture "Ercole" head Begin 20th century Marble Measure: H: 42cm including the base Perfect condition.

Copy of a portrait of "Emanuele Filiberto", Italian military leader of the 1500's

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...

Early 18th century Italian carved and dovetailed walnut alms box, circa 1725 Large dovetails and old handwrought nails give this small scale box a hea...

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...

A matched pair of 19th Century Italian alters love Angels A stunning pair of hand carved Italian 19th Century angels of love (as they face each other holding their hearts). These art...

Italian baroque marble angel. Partly painted, in original untouched condition. Is missing a few fingers. Previously repaired (see photos). Italy, 1680...

Masterpiece and Museum Pair of Feet of "Mercury" 19th Century in Carrara marble 46 x 30 x 20cm good condition for the period The "feet of Mercury" (or, more precisely, the winged sa...

This highly decorative console table with an oval mirror was made in early-20th century Italy. The carved wood table and mirror frame were decorated with delicate flowers, acanthus, ...

This is a classic Italian late 17th century floral still life. Although the painting is not signed, it has all of the hallmarks of being created by a master painter. The painting and...

Wonderful original period piece and very decorative item. The hand of a baroque Saint figure with its original color. Italy circa 1750 Weathered. H:7cm W:11cm D:24,5cm

Antique Italian Carved Giltwood Rococo Style Mirror is a beautiful representation of the style, with a restrained interpretation that results in a dignified, timeless Italian look wi...

19th Century Italian Baroque Style Giltwood Mirror. Our outstanding antique Italian Baroque style gilt wood beveled mirror retains the original mercury mirror and really makes a stat...

A spectacular and most impressive large scale Italian 17th century Louis XIV period Baroque giltwood mirror. The mirror is raised by two fanciful 'C' scrolled supports with a central...

Italian hand carved giltwood mirror in Baroque style richly ornate with foliage and flowers. Measures: Height: 29 ½ in / 75 cm Width 19 ½ in / 50 cm Depth 2 ¾ in / 7 cm Weight 11...

Italian contemporary hand-carved wood frame in French style with gold leaf cover and linen passe-partout. Available in custom sizes. Measures: cm.59 x 6 x 69 (inside cm. 48 x 38).    

This stunning Antique 18th Century Baroque Wall Vitrine ( Tabernacle/ Display Case) has a gold gilded exterior and inside bottom part beeing upholstered with a baroque noble red velv...

17th century, Italian painting with virgin and childr by Follower of Sir Anthony van Dyck cm W 90 x H 113; cornice cm W 111 x H 135 x D 7 The canvas depicts the Madonna with the Chi...

A fine Italian 19th century oil painting on canvas "La Madonna della Seggiola" after Raphael (Raffaello Sanzio da Urbino 1483-1520) The circular 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 (all high quality gilt is original) 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 Measures: Canvas height: 29 1/4 inches (74.3 cm) Canvas width: 29 1/4 inches (74.3 cm) Painting diameter: 28 1/4 inches (71.8 cm) Frame height: 57 7/8 inches (147 cm) Frame width: 45 1/2 inches (115.6 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...

A circa 1690 Italian maiolica shallow tazza of Savona manufacture having elaborately molded and pierced rim with reserves decorated allover in hand-painted underglaze blue florals an...

Lot and his daughters, EMILIAN SCHOOL XVIIIth century Oil on canvas 175 x 126 cm Lot and his daughters is one of the themes most frequently encountered by seventeenth-century pain...

A stunning Italian gilt copper ewer dating back to 18th century with a circular body featuring a quadripartite decoration defined by the repoussé of a double vertical ribbed frame that frames tableaux decorated with floral scrolls; the background of these sections is finely dotted by chisel tool to underline a very pleasant relief to the embossed parts thanks to the burnishing. An excellent and unique hand-made pitcher, selected in a private collection of Northern Italy. This rare golden jug was created to serve wine during the Eucharistic celebration, the Christian liturgical practice. it is an Italian work of art that dates back to 1700, with a wonderful fire gilding, for collectors. In good age related condition regardless of a small dent in the middle part of the body, consistent with the eighteenth-century dating. The cast handle takes up the motif of the volutes present on the body of the ewer. The spout is closed by a hinged lid with a small floral knob, with minimal deformations near the hinge compromising its perfect closure. In the upper part, there are welding signs...

18th Century Italian Baroque Walnut Bench. Offered is a handsome 18th century Italian Baroque walnut bench from the Tuscany region of Italy that has graceful arms which is profession...

An exceptional Italian 18th century Baroque st. giltwood, Brèche de Sicile, and Sienna marble console from Rome. The freestanding console is raised by elegant cabriole legs with fine...

Pair of 19th Century Italian Painted and Gilt wood Wall Brackets. Stunning large pair of Italian Baroque style painted and gilt wood wall brackets, wall shelves or wall consoles to d...

Italian Baroque religious panel painting. Style of Giovan Battista Langetti, depicting St. Jerome, the revered early Christian scholar best known for translating the Bible into Lati...

A large 19th-century Italian Baroque–style crucifix, crafted in silvered bronze and ebonized wood, mounted on a circular wooden base. Above the figure of Jesus Christ is a plaque ins...

Important Portrait of the Princess of Ruspoli, began 18th Century, Italian School Began 18th-century oil on canvas depicting the Princess of Ruspoli, a member of one of the most in...

18th Italian Baroque carved rock crystal crucifix with silver Corpus of Christ flaked by male and female attendants on either side. The stepped base deco...

An Italian Bronze Figure of the Dancing Faun After the Antique depicted standing ‘in contrapposto’ and raised on a Louis XVI style ormolu mounted porphyry and red marble base. The D...

18th Century Portrait of a Noblewoman in period attire, Oil on Canvas later mounted on board. Woman is dressed in richly detailed period attire and gazes confidently outward. A delic...

This is an absolutely exquisite, fine and rare 100% silk Venetian material/ fabric. It has a deep red wine very attractive and luxurious general main color, each border has a floral ...

A fine and rare Italian 19th century Baroque style carved walnut figural settee (Sofa-Loveseat), attributed to Valentino Panciera Besarel (Venice, 1829-1902) in the manner of Andrea Brustolon...

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

Very nice saint figure. Hand carved wood with glass eyes Italy, circa 1800-1850. Weathered, small losses.

18th Century Venetian wall consoles. Pair.

Cantagalli Lusture Majolica centerpiece, Of tripartite form with center pierced urn, with mask medallions, raised on a confirming ovoid base. Decorated in all over foliate and scroll...