Baroque Furniture

Original Antique Floral Rezzonico Murano chandelier, Italy 1900’s Large and rich handmade colorful Rezzonico Murano chandelier. The chandelier originates from a noble family in Vent...

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...

Very large Maria Theresa chandelier with 28 candles material metal frame with baluster decoration in the center, richly decorated with glass prism This chandlier is in perfect condit...

Rare, petite, decorative commode with trompe l'oeil inlay all around, simulating cubes, four drawers, on bun feet.

Red lacquered Italian commode with bucolic and chinoiserie decoration in paint and gilding. This 18th century chest of drawers is a serpentine shap...

Edgar Brandt inspired wrought iron screen or room divider. Fabulous one of a kind antique three-panel hand forged heavy weight wrought iron screen or room divider, possibly Italian. ...

The Netherlands Amsterdam Circa 1625 – 1650 A blue and white Dutch tile with a decoration of a Dutch soldier from the period of the 80 Years War. This soldier could be a member of t...

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 ...

70309 Vintage Turkish Sparta Rug with Russian Baroque Style 05’09 x 09’06. This hand knotted wool vintage Turkish Sparta rug features an oval central m...

An exquisite pair of highly decorated Royal Vienna Gilt Porcelain covered vases. Scenes of neoclassical beauties on all four sides with large paintings on the front and back, and sm...

1930s Italian gilted bronze candelabras with glass bobeche candle ring wax catcher 2.8". Very good vintage condition. Measures: 19 inches tall ...

20th century console carved table Renaissance made of solid walnut wood It features carvings of mythological animals and plant motifs. Foot with turned rear columns and front colum...

CARVED MIRROR RETRO New – not previously owned. Shows absolutely no signs of wear. Dimensions H 43.30 in. x W 31.89 in. x D 2.16 in. H 110 cm x W 81 cm x D 5.5 cm DATE OF MA...

Elegant pair of early 19th Century Italian polychrome console tables. From the Le Marche region of Italy. With a repeated floral motif to the cabriole shaped legs.

Pair of brown patinated wrought iron table lamp with acanthus leaf decorated scrolls, covered in linen hard back shades. The lamps have go...

Fine, rare and impressive 18th century brass chandelier with three tiers of eight scroll arms, for a total of 24 arms, all with original...

Magnificent and rare German cabinet from Augsburg, dating from the late 16th to early 17th century. Crafted from light fruitwoods, this exceptional piece is richly decorated with fin...

A stunning and large scale Italian 18th century Baroque period giltwood mirror. The original mirror plates are framed within a foliate and hammered designed mottled border. At the ba...

An exceptional and most unique Italian early 18th century Baroque period ebonized fruit wood and Pietra Dura marble and semi precious stone inlaid specimen cabinet. The small scale cabinet...

Venetian Baroque seven lights candelabra, indicated for fireplace or credenza, in hand-carved walnut, gold leaf finish, proceeds from a candle holders of early 1700s The central heart carved, indicates its ecclesiastical origin. Measures cm: H 56 x W 102 x D 12 "Andrea Brustolon...

Wall fountain with dolphin and shell bowl sculpture made of cast composition with marble powder, Portugal, early 20th century. Dolphin with a bronze tap in ...

Italian Venetian (18th Century) faux marble painted credenza cabinet with stepped back sides and carved gilt trim with 2 large front and 2 smaller ...

Large antique Italian Venetian Murano glass 6 scroll & swirl design arm chandelier with applied trim. Separate flower motifs and leaves. Gold dust inclusions. Approximate Dimension...

Beautiful Spanish Castilian style side table featuring a single drawer and intricate carved panels, dating from the early to mid-20th century. The front and sides display geometric a...

An most attractive and large scale Dutch 19th century Baroque st. patinated pressed metal mirror. The central original beveled mirror plate is sur...

This antique mahogany pedestal cabinet, dating back to around the 1840s, is a stunning example of craftsmanship and elegance from the period. The cabinet features intricate carvings ...

Bellini's Capretta bench style - a perfect seating companion for our table collection. Trestle style with carved cross stretchers. Handcrafted to order in aged solid European oak by our Master Craftsmen in Italy. Forged iron joinery. Available in custom size by quote and a variety of wood species & finish color. Measures as shown: 72" L x 20" W x 20" H, 1.5" thick bench...

Large Romantic Landscape with River and Cart, oil on canvas, Spanish School, 20th Century Impressive large-format Romantic landscape (150 × 100 cm), executed in oil on canvas around...

Unusual early 18th century Italian walnut octagonal table, having leather lined top with walnut gallery edge, over single drawer and standing on turned and octagonally chamfered carv...

A Spanish Fratino dining table with hand made wrought-iron stretcher from the late 19th century. This Spanish wooden table features a sturdy recta...

Our Mediterranean "Bocci" deluxe 2-pedestal trestle dining table features a 2.0” thick flat edge top with full length solid planks of premium aged Italian walnut in Classic Renaissan...

Italian baroque style walnut dining room table, made from antique elements, probably assembled circa 1920's. With a rectangular 111" long walnut two board top, a dental molded apron,...

Outstanding carriage or bonnet chair. The origins of this elegant piece date back to medieval England, although it was also widely used in France, inspired by royal carriages. Charac...

A fine and extremely rare figured walnut and seaweed marquetry 'lace box', circa.... let’s break it down - Seaweed marquetry first appeared in Englis...

A French Baroque style walnut putto from the late 18th century, sitting on a pillow. Created in France during the last quarter of the 18th century, this walnut sculpture charms us wi...

Amazing Flemish Master 17th Century "Saint Jerome" Oil/canvas/double, 82 x 64 cm. good condition

Antique Reed & Barton Figural Baroque Silver Plated Lion Head Large Soup Tureen. Circa Early 20th Century. Measurements: 10" H x 16" W x 9.5" D.

19th Century Spanish Baroque side or working table with drawer

Fine French Louis XIII armchair. Made in the 17th century from walnut and equipped with hidden out sliding tray supports as a extra feature. We restored this armchair and reupholster...

17th century French School "Virgin and Child (Virgin of the Rosary)" Oil on canvas (Fragment, original canvas, tension bands, restorations) 47.3 x 37.9 cm This canvas was probably...

Beautiful carved giltwood baroque mirror, Italy, circa 1750. Weathered, small losses and old repairs.

18th century Italian crucifix adorned with tourmaline and mounted on tourmaline in a crystal matrix from Brazil. The piece is put together by Jean O'Reilly Barlow, the artist and c...

19th century French bronze box with semi precious stones. Lovely 19th century French Baroque style bronze box or jewel casket with semi...

A charming 18th century Imari lobed plate with dragon ornamentation. Beautifully painted with a vase and profusion of flowers surrounded by a double circle border. The outer border with elaborate vignettes with dragon heads, flowers and trellis work. The reverse with four repeats of scroll and ribbon motifs. Painted in tones of iron red and blue. Old stapled repair to a break. Measures: diameter 22cm., 8 1/2" height 3.5cm., 1 1/2" Provenance : Private collection with a dish and a plate of similar quality Imari is the European name for Japanese porcelain wares made in the town of Arita and exported from the port of Imari, in Western Japan. The dynastic change and the instability of China in the mid-17th century created a gap in the porcelain market, which became increasingly international throughout the century. Arita developed into a prominent centre for porcelain due to its proximity to Izumiyama, an area rich in kaolin. Although the Arita kilns...

19th Century Spanish Baroque side or working table with drawer

Beautiful hand engraved contemporary vase. The pattern is Baroque style. Made of crystal.

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

A provincial southern German baroque chest of drawers from the 18th century. Solidly crafted in pine. An authentic piece of furniture in an elegant purist design with beautiful soft...

19th century English oak joint stool / bench Jacobean style stool / bench Hand crafted English oak The oak shows some distress from the past 300+ years The images here show...

Extremely rare and unique beautifully designed artistic display of Louis XVI period velvet gold embroidery pants. This unique item has been framed and displayed on the antique velvet...

A magnificent 19th century bronze of Ulysses stringing his bow on square base. After Jacques Bousseau (1681-1740). Circa 1830 French Dimensions: H: 35 in / 89 cm W: 11 i...

Pair of Italian Baroque style (19th Century) painted black swirl columns with gilt trim and floral and scroll design (PRICED AS Pair).

German baroque storage chest or trunk in its original condition. Hand carved in oak with polychrome hand decorated facade. Top of panel with inscription "Christine Sophie Wilhelmien...

Its Venetian white oak frame with antique gold leaf accents exudes timeless sophistication. The baroque-inspired silhouette, with graceful curves and subtle points, balances vintage ...

Lovely baroque painted metal procession cross with a great patina. Italy circa 1750. weathered and small losses. Measurements include the wooden base. H:42cm W:28,5cm D:9cm

This is a very fine handmade baroque wooden mirror, with the original mercury glass. The wooden frame is hand painted with elegant flowers drawings and a golden border. A perfect pie...

An exquisite Dutch cushion cabinet with two doors. This cupboard takes its name from the pillow-shaped thickenings on the doors. The doors are fl...

This is a very fine handmade baroque mirror, with the original mercury glass. The wooden frame is hand painted with elegant Chinese drawings on light green and a golden border. A pi...

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...

German Baroque chest of three drawers, mid-18th century, walnut veneer and marquetry panels, semi-gloss finish, serpentine front. Brass fittings. Working locks and key. Beautifully r...