Baroque Furniture

A chest made during the Baroque period in the southern part of Europe, most likely Italian. Made from stained and waxed oak. Richly carved with stunning motifs. Original hardware. ...

Small baroque chest resting on a modern, baroque-style stand. The front is decorated with stylized arched motifs and fitted with iron fittings and straps. The exterior has been newly...

Grey marbled Baroque table. Base with 2 drawers, pine tabletop, natural finish, Sweden, end of the 18th century. Perfect as a console table or "behind the sofa" table.

Immaculate Conception, large-format, Spanish School, oil on canvas, 19th century Splendid oil on canvas depicting the Immaculate Conception, large-format (121 × 87 cm), painted arou...

Glorious 18th century water gilded baroque processional cross, with embroidered IHS panels inset. Time worn patina, gesso over wood. Height 61 cm, Width 37 cm, Depth 13 cm

Fabulous textured iron table in a oval form created by French artisans. Sculptured, tapered legs and stretchers were constructed from heavy iron s...

Discover opulence with this exquisite Antique Italian Baroque-style bronze candelabra wall sconce, now available for sale. This ornate p...

The lamp base is made from three-sided bronze altar candlestick embellished with religious symbols en relief, as well as classical detailing and cla...

Portrait of a German Princess with a Sash and Insignia of a Knightly Order European School, 18th Century " German Princess " Large-format oil on canvas depicting a German princess,...

French Baroque style oval wall mirror. The mirror features a large bow and ribbon crowning the gilt mirror. A double iron candle holder to the front. This charming mirror has great...

Rare pair of elegant long and narrow upholstered benches, early 18th century of French origin, each having six turned legs joined by conformin...

A handsome and large scale Italian late 17th century Baroque Period Walnut center/dining table. This impressive and richly detailed rectangular table is raised on two elongated Walnu...

Italy burnished brass planter bowl with lions Heads, early 20th century This is an antique brass jardiniere with a lot of charm. Two lion's...

PAIR of Italian Rococo (possibly Venetian,18th Century) giltwood girandoles with carved frames surrounding a shaped mirror with a single wrought iron arm light fixture (PRICED AS PAIR)

Painting with probably biblical Italian school characters End of the 17th beginning of the 18th century unsigned carrying a Carlo Maratta cartouche of in...

Amazing historicism clock ensemble in the style of Louis XV (late Baroque) with gorgeous architecture. This is a fine example of custom bronze work that is available on the antique market. Made in the second half of the 19th century, clock movement by Frédéric Japy (marked on cased), hand chased and gilt bronze décor of quality. Complete with 2 five-light candelabra, pendulum and key the clock itself stands on the included wooden base. Running and strikes on spring. Antique wooden clocks...

Unique 18th century cherrywood side chair from the period of emperor Joseph II. of Austria, the son of empress Maria Theresia, around 1790. Made of solid cherrywood, this decorative antique chair...

A handsome mid C18th swedish curved front commode in baroque style in a lovely warm mid brown elm. Its three useful deep curved front drawers are framed by decorative gadrooned pilas...

Small two-door corner cabinet with a dark moulded stone top and rounded front. The doors are inlaid with wood in contrasting colours, forming an elegant, multi-curved cartouche. The ...

Giovanni Michele Graneri (Italy, Turin 1708-1762) Bambocciata (Farmers dancing in front of the inn) The painting, made in oil on canvas, depicts a moment of celebration where some p...

The outside and inside rectangular back and seat re-upholstered, during its last ownership, with an off-white and grey/blue cotton/linen mix fabric faced with close nailed brass stud...

Very impressive 19th century solid silver antique German model of a ship, named "Nef" in the renaissance style, impressively large and highly deta...

Antique ornate French Baroque / Rococo style gold gilt beveled vanity / hall / mantel mirror featuring a pierced and reticulated design with scalloped acanthus and foliate accents. ...

Italian Old Walnut Credenza with Olivewood Burl: 18th Century Style Extraordinary Italian handcraft as exhibited in this finely mastered Italian four-door and four-drawer credenza ...

Michelangelo and His World: Sculpture of the Italian Renaissance By Albert Hirmer (photographer), Russell Stockman (trans), Joachim Poeschke and Irmgard Ernstmeier-Hirmer (photographer). Michelangelo And His World written by Joachimv Poeschke is the most comprehensive examination of Italian Renaissance sculpture from 1490 to 1560 ever published. New York: Harry N. Abrams, 1996. First edition. Hardcover. First printing. Monograph with 399 illustrations including 52 in color. Photographs by Albert Hirmer and Irmgard Ernstmeier-Hirmer. Translated from the German by Russell Stockman. A comprehensive look at Michelangelo's work. A very near fine copy in very near fine dust jacket. This is a heavy and oversized book Published in 1996, the book central to the whole study is the sculpture of Michelangelo...

A sensational and rare pair of Italian 17th-century Baroque period giltwood, gilt metal and Verde Antico marble torchières floor lamps. Each large-scale floor lamp is raised by 19th ...

Antique French 19th century or possibly earlier, large hand-carved limestone cherub or putti garden statue or sculpture from a very prominent and historic St. Louis estate on the grounds of St. Louis Country Club...

Gorgeous Italian solid silver vase. Body made in one piece without welding. Embossed and chiseled, of rare beauty and precision. Two important handles made of fusion and finely chiseled were welded onto the vase. The inside of the vase has been gilded in thickness with a non-glossy technique in order to make the overhangs visible and appreciable also on the inside. The vase was marked with the "800" but it was not possible to identify the master silversmith On both sides, the names of the owners of the vase, Maria and Gianni, have been engraved by hand Weight: 1184 grams Sizes: Height cm. 30 at the handles Height cm. 23 vase Width cm. 33 at the handles Width cm. 18 vase.

Gilded Baroque Console Table with Red Marble and Carved Mirror with Coats of Arms, 19th Century This extraordinary set comprises a console table with a veined red marble top and a la...

A pair of French 19th-20th century Baroque style carved walnut and needlepoint upholstered hall throne armchairs with raised carved armrests and fluted conjoint legs. The tapestries ...

Comfortable wingback chair in Baroque style, featuring a gracefully curved frame and intricately carved decorations. The generously sized wings transition seamlessly into the armrest...

Stunning pair of Italian 17th Century Baroque standing lamps with a detailed symphony of hand-wrought iron work in every part that aims to delight the eye and soul. These are masterw...

High relief representing battle in classical style. carved on white Carrara marble dimensions 46 h x 45 x 10 cm, weight 35.5 kg Skull -""Memento"" sculpted in the smallest anatom...

Ashly Fine Rugs Presents AN ENGLISH BAROQUE GARDEN LANDSCAPE TAPESTRY, ROYAL MORTLAKE WORKSHOP, 17TH CENTURY, woven with silk and wool in a rectangular form centering a stone footbridge over a meandering stream with paired geese amidst a garden of various blossoming plant species beneath towering trees concealing a parrot and magpie foraging on large grape clusters, within a topiary garden hedge and spherical wall before a fountain with a forest and manor in the distance, enclosed by a spiraling acanthus leaf wrapped fruiting and flowering border framed by a lambrequin edge trimmed in a brown outer slip, surmounted by a coronet above an armorial three bar shield flanked by palm fronds centering a fleur-de-lys. Note: The Mortlake Tapestry...

The strong visual appeal of this handsome Danish chest of drawers is due to the lightly worn white paint and the clean, curved lines. Where the paint has been gently scraped, the ric...

17th Century French Hunt Scene Handwoven Tapestry with some wear spots as shown in the pictures

This narrow pine corner cabinet has two paneled cabinet doors separated by a middle drawer.The dark rich patina of the pine reflects its age. Restored, strong and stable this corner ...

Our classic Lira Style dining table expands with extension leaves- offering an option for entertainment seating: Old Walnut Refectory table with lyre-shaped bases, handcrafted in ag...

Late 19th century large pair of Italian Armchairs. Each exuberantly carved example with a padded back surmounted by a pierced foliate and floral crest, joined by scrolling arms to t...

Striking Imari lobed plate with simple, bold ornamentation indicating it is an early piece. The centre with three stylised bonsai evoking the quality of reflection surrounded by a tr...

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...

17th century Portuguese "Vase" Measures: 73cm x 87cm 81 tiles Important note: This panel is with the tiles restored 17th century. The panel is delivered as if it were a painting wi...

Stunning 18th century carved wooden religious shield, Italian early 1700’s, in gilt and green with the words ECCE NUNCDIES SALUTIS (This is the Day of Salvation) to the centre. Hist...

This is a very rare antique High Baroque game table is hand crafted and has an absolutely magnificent wooden inlay with people playing cards and in the center there are images of pla...

This unusual Baroque style console dates to the 19th century (see condition report) and has a fabulous overall shape. Originally from Germany, it was said to have come out of a theat...

A pair of Fortuny Fabric cushions with bias edging. The pattern is a 17th century Italian design with wisteria motif. Newly made using vintage Fortuny fabric, circa 1940. 50 down/50 ...

This magnificent 18th-century Brazilian shrine, originating from Minas Gerais, is a stunning example of Colonial baroque religious craftsmanship. Crafted from wood and adorned with h...

This splendid unique and extremely rare antique Austrian baroque Console Table is a real piece of Art. The table has been owned by members of the Habsburger Royal Family of Austria. ...

German baroque chest of drawers, castle furniture, 1730-1740. Walnut veneer with marquetry decorations in contrasting woods, in the form of exotic birds and foliage. Black stone top....

For FULL item description click on More Details below. Shipping Quote Information The shipping quote stated in the listing was from 1st Dibs and they normally set all the costs and ...

French Baroque console table, carved and painted with the faces of angels This is a very attractive piece, the table is hand carved with bo...

Francesco Aviani (Italy - Venice, 25-11-1662 / 1715) att. Couple of paintings depicting Capricci Oil on canvas, 135 x 183 cm, without frame The two large and fine paintings depict two illusionistic architectural renderings, with views of colonnades and arched buildings, animated by figures. The compositions are characterized by the harmony with which the painter introduces the sumptuous architectural monuments, the mirrors of water, the buildings in the distance and the views of the landscape. Dominates with a color on the tones of brown and ochre that stands out on the blue sky, marked by some cloud of steam. The insertion of the figures to enliven the architectural views also balances with the set. The Capriccio, an artistic genre that has made its way into Italian painting since the 17th Century, is characterized by the representation of fantastic architectures or prospective inventions, sometimes combined with elements drawn freely from reality. The two paintings are an example of this type and they are a very interesting and Fine artwork. The remarkable pictorial quality emerges both from the composition of the ensemble and from the way in which the artist describes the views with great attention to detail, highlights and refined, perfectly realistic, chiaroscuro. The same must be recognized for the figures: these are described with a wise brushstroke, quick and quick touches give the dynamism of the moment that is captured, as if time had stopped to show and narrate what is happening. The painting on the right represents a large Baroque building in stone and paved with marbles, two floors, with moving façade, large columns with corinthian columns, a large portal with a staircase with large footsteps, a balustrade with string, from which some figures appear, and two equestrian monuments in bronze. The sumptuous building overlooks a large POOL of water, with a gushing fountain, around which some characters sit. In the second floor is described a white palace from which rises a tower crowned by a structure with wrought iron loggia. In addition there is a bridge and some architectural ruins behind which some mountainous reliefs fade towards the horizon. On the staircase is described a particular scene. The people seem to be part of a very precise story. A woman, in the shadow of a parasol supported by a servant, would seem to drive out of the palace a man, who, taken under his arm by two maidens with a determined attitude, is led to a boat. The scene could be identified with the biblical episode of the parable of the prodigal son (Luke 15,11-32), at the moment when the prodigal son is robbed and driven away by the harlots. The episode tells of a man with two children. The youngest said to his father: “Father, give me the part of my inheritance”. And the father divided the substances. After not many days, the youngest son, collected his things, left for a far country and there he lost his substances with prostitutes and living as a debaucher. When he had spent everything, there came a great famine in that country and he began to find himself in need. Reduced to hunger, he was forced to be a pig herder to survive. He therefore meditated in his heart to go to his father and ask for his forgiveness and to be welcomed anew, even as a servant. While still on the road, however, the father saw him and ran towards him, receiving him with open arms. He then ordered his servants to prepare a great feast for the occasion, killing for the purpose the "fatty calf". The firstborn did not understand why his brother was given such treatment, and reminded the parent that he, who had always obeyed him, had never received a single kid to celebrate with his friends. The father answered him: «Son, you are always with me and everything that is mine is yours; but it was necessary to celebrate and rejoice, because this brother of yours was dead and came back to life, was lost and was found». The parable of the prodigal son was often portrayed in painting and the scene he finds most is certainly that of returning home in his father’s arms. Among the many is a canvas by the famous painter Giovanni Paolo Pannini (or Panini) (Italy – Piacenza, 1691– Rome, 1765) kept at the Hallsborough Gallery in London. Rather rare, however, is the scene of the prodigal son driven and robbed by harlots. There is an engraving by Hans Collaert II (1561-1620) in which this moment is described in the background compared to the moment, narratively later, in which he is penitent among the pigs. The second painting, certainly pendant of the first, represents a similar palace, with some characters overlooking the balustrade marcapiano and other figures around the large bathtub quadrilobata. In the foreground is described a monument with two large stone sculptures. In the distance some architectural elements and, beyond, the mountains are lost on the horizon. The studies related to the numerous painters of architectural views and caprices, active in Italy, and the archival documents found, which could better clarify commissions, biographies and certain works, are scarce and sporadic. Therefore there are still many difficulties in reconstructing a catalogue of autograph works for each author. Through paintings in private collections, in museums and paintings passed on the antique market it is however possible to advance some attributions in order to better delineate the various artistic figures. The style of the works studied here leads to a dating that runs between the 17th and 18th Centuries, with obvious influences dictated by the perspectives of the brothers Galli Bibiena. The analysis of the architectures and the chromatic palette suggests that we are in the presence of a northern Italian and Venetian author. Observing the decorations and the volutes, the brightness and the perspective disposition in fact, we find several analogies with those used by the Vicenza painter Francesco Aviani, excellent in pictorial perspective and architectural views. The biographical profile of Francesco Aviani (Italy - Vicenza, 1662-1715) was essentially traced in 1956 by Andreina Ballarin, then re-visited by Federica Spadotto in 2014 and Giancarlo Sestieri in 2015. Certain documents about his life are scarce, as are the documented works. He was born in Venice, probably on 25 November 1662, to Bernardo and a Magdalene whose surname is unknown, and was baptized on 3 December 1662. Between 1701 and 1703 he worked, together with his brother MarCo, sculptor, for the fresco decoration (now illegible) of the church villa in Soella (Vicenza). On October 16, 1703 he married Isabella Carcano. On March 26, 1715 he made a will and died on April 3 of the same year, in Vicenza. The frescoes in the refectory of the sanctuary of Monte Berico in Vicenza are considered authentic works by Aviani, probably made in 1708; the paintings preserved in the Civic Museum of Vicenza: “Landscape with Lazzaro and the rich Epulone”; “Christ among the doctors”; “The miraculous fishing”, works not datable but with attribution corroborated by style. In addition, the frescoes in the east and west corridors of the Villa La Rotonda, near Vicenza; the fresco in the apse basin of the chapel of the church S. Croce, Vicenza, now destroyed; the frescoes of the central hall of Villa Camerini a Montruglio (1714) and a painting of a “Porto Regio”, of which we have a print engraved by Dall'Acqua. From his works emerges the artistic background that animated the Venetian culture in the early eighteenth century. The scenic grandeur with which Aviani treats the architecture also suggests a stay in Emilia of the painter, in which he could have come into contact with the environment of the Bibiena. These contacts would be confirmed by the press of Cristoforo Dall'Acqua (Vicenza 1734-1787), “Il porto regio”, after a painting of Aviani. The press was part of a group of engravings, representing royal buildings, reproducing paintings of the Bibiena. In the eyes of Dall’Acqua, therefore, Aviani’s work was not foreign among those of the Emilians. Inside the sumptuous architectural whims, Aviani often depicts biblical scenes, in which the characters share the space and the narrative rhythm, along with figures drawn from everyday scenes, memories of the Veronese and Bassano heritage. Also in the works covered by this study the author does not seem to want to give up a biblical subject, though the purpose of the paintings appears to be clearly a staging scenography-architectural within which the characters are relegated to the role of extras. From the examination of the architectural Capriccio gathered under the name of Aviani then emerge common elements. The comparison between these works and the works in question highlights the proximity of the compositions. The imposing and scenic architectures are in fact equally characterized by the perspective-scenographic ability diffused in emilian “quadraturisti” and in Bibiena work. In fact, you can see the spectacular slender architecture in the lower part, the loggias that create chiaroscuro games with arches and binate columns placed on massive bases and overhung by projecting cornices. Significant also the comparison with two paintings with architectural whims in a night vision attributed to Francesco Aviani. In Aviani’s works it is possible to find a certain knowledge of the Roman Codazzi paint nd its early development of the eighteenth century, developed with the Locatelli, the Pannini and the less known Domenico Roberti. To Roberti have been recently attributed two works that have some compositional affinity with the canvases in question. The same can be done for a work on the antique market, attributed to Pietro Francesco...

A charming early tobacco box or tea cannister Unusual, large size Lovely soft contours which enhances the reflection of light in the interior Original condition including hinges length 21cm., 8 1/4" depth 7.5cm., 3" height 11cm., 4 1/2". The Dutch were the main importers of tobacco in the 18th century and manufactured tobacco boxes to sell with...

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...

Large Floral Painted 18th Century Commode of German Origin with five drawers made of oak), serpentine front, on bun feet. Charming and very decorative with the red paint nicely distr...

Italian Venetian Murano wall mirror with etched floral and scroll design border, applied gold-dusted glass leaves, and spindle trim.

A rare and impressive pair of baroque chests of drawers from southern Germany, dating from 1750/60. These exquisite pieces of furniture combine masterful craftsmanship and timeless e...

Pair of Italian baroque style upholstered benches with flanking carved serpentine skirts, and resting on the original cabriole legs with pad feet. Late 19th century.

Italian baroque walnut cupboard from the late 17th-early 18th century. Wonderful carvings including leaves, rosettes, and winged angel carved m...

Northern Italian School, 17th century "Coronation of the Virgin" oil on canvas, 160X108.5cm no cornice good condition