Baroque Paintings

Circle of Maratta, Maria and Child, in a Roman 18th century hand carved and gilded wooden frame, uncut Images of the Virgin and Child were for centuries the most common subject for Christian religious...

A FEAST OF THE GODS WITH VENUS AND BACCHUS Collections: With Appleby Brothers, London, June 1957; Hazlitt, Gooden & Fox, London, 1961; John and Eileen Harris, acquired from the above, to 2015. Literature: Jacob Simon and Ellis Hillman, English Baroque Sketches: The Painted Interior in the Age of Thornhill, 1974, cat. no.12 (as by Louis Laguerre); Elizabeth Einberg (ed.), Manners and Morals: Hogarth and British Painting, 1700-1760, exh. cat., London (Tate Gallery), 1987, cat. no.10 (as by Louis Laguerre); Tabitha Barber and Tim Bachelor, British Baroque: Power and Illusion, exh. cat., London (Tate Britain), 2020. Exhibited: Twickenham, Marble Hill House, English Baroque Sketches: The Painted Interior in the Age of Thornhill, 1974, no.12 (as by Louis Laguerre); London, Tate Gallery, Manners and Morals: Hogarth and British Painting, 1700-1760, 1987, no.10 (as by Louis Laguerre); London, Tate Britain, British Baroque: Power and Illusion, cat. no 92, 2020. CUPID AND PSYCHE BEFORE JUPITER Collections: With Appleby Brothers, London, June 1957; Hazlitt, Gooden & Fox, London, 1961; Anthony Hobson, acquired from the above, to 2015. These recently re-united paintings are the most ambitious surviving baroque ceiling sketches made in Britain in the early eighteenth century. From the Restoration until the rise of Palladianism in the 1720s decorative history painting formed the preeminent artistic discipline in Britain. It was a field dominated by Continental artists including the Italian Antonio Verrio and the Frenchmen Louis Laguerre and Louis Chéron...

Preparation for Carnival: a three day festival of insatiable eating, drinking and carousing that preceded the forty days of Lent, a period of penitence when the pious drank only wate...

John Clostermann (Osnabrück 1660 - 1711 London) Portrait of a boy, maybe Charles Hinde Oil on canvas, 61 x 74,6 cm John Closterman (also Klosterman) was a portrait painter of the late 17th and early 18th centuries. He primarily portrayed English noblemen and European aristocratic families. His father was already an artist and he trained his son. In 1679 he went to Paris and studied with Francois de Troy. In 1681 he was in London and worked for the artist John Riley, whose studio he took over after his death. In 1696 he was invited to the Spanish court...

This painting is inspired by the "Rest on the Flight into Egypt" by Simone Cantarini called Il Pesarese, who was an Italian painter and etcher. He is ...

Artist/ School: French School, 19th century Title: Elegant Figures within an interior, with music instruments. Medium: oil on wood panel, framed framed: 10.5 x 14.5 inches board...

Francesco Fracanzano (Monopoli 1612-Napoli 1656) Testa di vecchio Olio su tela, cm 66x52,5 La tela presenta la figura di un uomo anziano a mezza figura con lo...

The painting represents the moment of the death of Lucretia, a Roman noblewoman who was raped by the seventh and last King of Rome-the Etruscan Tarquin the Proud-and committed suicide-in front of her husband and her father-because she couldn’t stand the violence she passed through. According to the legend, this episode caused the rebellion that overthrew the Roman monarchy and led to the transition of Roman government from a kingdom to a republic. The scene is entirely dominated by the figure of the lady, emerging from a dark background in contrast with the brightness of her skin and of the colors of her dress. The torments and agony are intensively expressed by her glance, capable of creating a strong empathizing. The shiny white skin and the pearls (symbol of virginity) in her hair are an allegory of her purity, while the red tablecloth seems predicting the violent end. The painting is characterized by lots of exquisite details (like the richly decorated knob of the knife, the ribbon that tie up the purple curtains...

Heinrich Adam Elias Borny (German, 1742-1778) • Late baroque Ink and pen drawing on laid paper (no watermark) • Sheet, ca. 29.4 x 22.7 cm • Imag...

Pieta, 9x12 inches. Oil on Panel with Dutch Ripple frame. Painting by artist Justas Varpucanskis. 21st century contemporary artwork that employs te...

Sebastiano Mazzoni Andata al calvario Olio su tela, Sec. XVI, cm 130x143; con cornice 167x153x9 Il dipinto rappresenta un episodio della Passione di Cristo cui accennano appena i Van...

Philosopher - Ciro De Rosa Italia 2008 - Oil on canvas cm. 26x26 Gold leaf gilded wooden frame available on requestThe evocative portrait of Ciro De Rosa portrays an elderly man with...

Artist/ School: Italian School, 17th century, circle of Salvator Rosa (1615-1673) Title: Waterfalls in a Landscape Medium: oil painting on canvas, unframed Size: canvas: 20 x 24....

Serguace di Salvator Rosa Paesaggio con personaggi Olio su tela, Sec. XVII, cm 52x93,5; con cornice cm 64x146x6

Flemish Fair (After Jan Brueghel The Elder) This is a very large and impressive version of the original painting Flemish Fair Cr. 1600. Beautiful 19th Century or earlier oil on ca...

Still Life with fruits is an original oil on canvas realized in the 16th Century by an Italian School Master. Original oil painting on Canvas. The painting represents a still life...

Portrait of a nobleman by an unknown artist , titled "Sir" on a London label on verso. A man dressed in dark robes with a white collar looks directly at the viewer. Heavy age toning ...

Fascinating mythological story of Diana and Actaeon can be found in Ovid’s Metamorphoses. Very important provenance from a royal collection. Fabulous finely carved gilt wood coeval frame . Giovanni Battista Viola...

Girolamo Troppa (Rocchette, 1636 – Roma, 1710) Cristo deposto alla croce con un angelo, Maria Maddalena e tre angioletti con i simboli della passione. Olio su tela, cm 155x200 con cornice cm 170x230 Il Cristo deposto occupa l’intera composizione dal taglio orizzontale e presenta il corpo con il capo abbandonato all’indietro, ben studiato nei dettagli anatomici dei muscoli e avvolto in fasce di lino. Al tragico evento partecipano tre angioletti con i simboli della Passione, intenti a sorreggere il velo, a raccogliere la corona...

An impressive 19th-century copy of "The Little Fruit-Seller", after Bartolome Esteban Murillo (Spanish, 1617 - 1682), by an unknown artist (1...

Portrait of a Lady - Ettore Frattini Italia 2005 - Oil on canvas cm.100x70. The painting by Ettore Frattini depicts an elegant and refined noblewoman, the painting is inspired by t...

Oil work on canvas sold with frame. Total size with frame: 58x39x5 cm

An engraving by Jerónimo Wierix after Marten de Vos's Saint Michael the Archangel (Iglesia de San Miguel, Córdoba) may have been a source f...

Roses. Canvas, oil, 90x65 cm Arturs Amatnieks (Leon) (1974) Leon (real name: Artūrs Amatnieks) is a professional artist, working in realism techniq...

A 17th century English portrait of a lady by Sir Peter Lely (1618-1680), half-length in a painted feigned oval, wearing a green silk gown with chestnut coloured cloak over one shoulder, her fair hair curled in the fashionable ringlet style of the period. Oil on canvas in an English giltwood 'Lely' frame. We are grateful to Diana Dethloff and Catharine MacLeod (who are currently working on a Lely catalogue raisonné) for their confirmation of Lely as the artist from photograph analysis of this previously unidentified early work. Provenance: Private collection Nottingham until 2021 Mellors and Kirk sale December 2000, lot 1173 The sitter is likely to have been from an upper class or aristocratic family in court circles, who were the main source of Lely`s patronage. The simple composition serves to highlight the beauty of the sitter through portraying her pale decolletage and complexion, set against the gentle gaze of her blue eyes, the soft blush of her cheeks and her full red lips. Peter Lely (1618-1680) was originally of dutch origin and became Principle Painter to the King in 1661, following in the footsteps of Van Dyck who had died in 1641. He dominated the portrait painting scene in England for over 20 years, creating a distinctive 'court look' in his work which had a strong influence on many other artists. He had an extremely successful and popular portrait practice which meant that he soon had to develop production methods that could accommodate the high demand for portraits, and also for copies and versions of them which were given as gifts to family and courtiers. The use of studio assistants was a common practice for busy artists and as with Van Dyck, Lely is known to have used specialist assistants to execute particular parts of his paintings. Artists who worked in Lely`s studio included John Baptist Gaspars who specialised in drapery painting, William Wissing, John Greenhill...

Circle of Jan van Huchtenburg Landscape Scene with a Soldiers Camp Oil on Canvas, 41 x 55 cm Soldier Camp Life Scene together with a wonderful golden Frame

The painting and the preparatory drawing are offered together. Provenance Private collection, Germany, Trier, c. 1980- 2013 Saint John the Baptist Brown ink and wash over red chalk on oatmeal paper 31 x 20.5 cm Inscribed: „Ferrau Fenzonio da Faenza invt. esque … imp. da Fran. Villamena …“. bears the collector's mark of Henry Scipio Reitlinger (1882-1950; Lugt 2274a) on a tiny label glued to the verso On the reverse is a partial drawing of a Pieta, pricked for transfer. Provenance New York, Doyle, 14. October 2015, No. 6 The painting and the preparatory drawing resemble the composition of an engraving after Ferraù Fenzoni by Francesco Villamena. Drawing, engraving and painting are almost identical, except for minor differences. Even the measurements nearly correspond: painting (32 x 25,5 cm), drawing (30 x 20,5 cm), engraving (31,1 x 23,5 cm). Dr. Guiseppe Scavizzi confirmed the attribution of the present panting to Fenzoni and he dates it to c. 1590. The inscription on the drawing reads “Ferrau Fenzonio da Faenza invt. esque. . . imp. da Fran: Villamena . . .”. The engraving’s inscription also lists place and date “Ferra Fensionius inventor/F. Villamoena sculpsit Rome/Aspectu fruitur… antra puer/cum Privilegio… 1613”. Interestingly, the engraving is not mirrored as it is in most printing processes. Painting, drawing and engraving are not reversed but the same. It is remarkable to note that there are further paintings by Fenzoni which were engraved in the same order and not reverted. They also show strong parallels regarding the compositions and the measurements (see for example “Deposition of Christ” ). Ferraù Fenzoni was an Italian painter mainly active in Todi. He is also called Il Faenzone after his birthplace (Faenza). He apprenticed in Rome during the papacy of Gregory XIII and contributed to numerous fresco cycles under pope Sixtus V, such as the Loggia della Benedizioni in the Lateran Palace, the frescoes on the walls and vaults of the Scala Santa of the adjacent Basilica of San Giovanni in Laterano, and the decoration in the Sistine library. His expressive canvases straddle the styles of Mannerism and Baroque. In 1594, he moved to Todi. A “Last Judgement” by him is housed in the cathedral of Todi. He returned to Faenza in 1599, where he decorated chapels in the cathedral from 1612 to 1616. In 1622, he completed a “Deposition”, now in the local Pinacoteca. In 1640, Fenzoni was named “cavaliere dello speron d’oro” by Cardinal Colonna and, on 25th April 1634, he was nominated vicar and “castellano of Granarolo”. Fenzoni‘s style is characterized by a mixture of the Mannerism of the Northern Netherlands and the Italian Baroque. Saint John the Baptist, Old Master, 17th Century, By Fenzoni, Religious Scene, Rome Art...

Philosopher - Ciro De Rosa Italia 2008 - Oil on canvas cm. 60x50 Gold leaf gilded wooden frame available on request The painting by the painter Ciro De Rosa portrays an old and wise ...

This painting is likely to be from the late 18th or early 19th century, and is seemingly inspired by Antonio Correggio's "Virtue of Vice" circa 1531. Frame dimensions: 30 x 49 inches. This painting has been in a private California collection for over 40 years. It was acquired from a high end antique...

17th Century Old Master, Figurative and Landscape Painting by Jan Van der Bent So far, little is known about the life and work of Jan van der Bent. He was...

Pair of very decorative Italian Still-life paintings of flowers with vases and classical figures . 18th century, oil on canvas, with original gilt-wood frames. This pair is an exce...

The Market is an original old master artwork realized in the 18th century by an Anonymous Flemish artist. Oil painting on canvas. The artwork depicts a bargaining scene at the marke...

St. Nicholas of Tolentino (1245-1305) Italian School, 17th century oil painting on canvas, canvas: 10 x 8 inches provenance: private collection, Germany Very fine and rare 17th century Italian Old...

Transformation. 2021. Canvas, oil, 76x61 cm Arturs Amatnieks (Leon) (1974) Leon (real name: Artūrs Amatnieks) is a professional artist, working in ...

Still life with flowers and a basket. 2021. Canvas, oil, 76x61 cm Artwork in baroque style and technique. Flowers on black background Arturs Amatnieks...

Artist: (after) Sir Henry Raeburn (Scottish, 1756-1823) Title: "Portrait of Margaritta MacDonald in red jacket and white gown (half-length)" *No signature found Circa: 1820 Medium: O...

Cornelis Schut, atrributed to (1597 - Antwerp - 1655) Mary with Child, St. Elisabeth and John the Baptist en grisaille Oil on wood, 33,5 x 26,5 cm Co...

Jan Van Huchtenburg Battle of Peterwardein, 1716 Oil on canvas, 45 x 64 cm monogrammed "HB" n 1670 he settled at Haarlem, where he married Elisabeth Mommes. It seems he practised and kept a dealers...

- ANNA CATERINA GILLI or GILLI Anna Caterina Turin 1729- 1751 Her paintings recorded in Turin as a decorative artist for the Royal Palace and the Stupinigi, working in a simil...

Isaac and Rebecca had two sons: the twins Esau and Jacob. Esau was the first-born, giving him the birthright. Among Jews the birthright gave the eldest son authority over the family,...

A wonderfully detailed and charismatic portrait, this exquisite work illustrates the technical mastery and artistic vision of Van Dyck. Ernest de Mansfeld's stately yet approachable expression reflects Van Dyck's refined ability to comfort and relax his subjects, resulting in a realistic and acute portrait. Ernest de Mansfeld was a German military commander during the early years of the Thirty Years War. Donning his armor and an ornate, lace collar, de Mansfeld appears as a strong commander. Without a hint of a smile, he calmly gazes out, the definition of cool and collected. Van Dyck accurately captures the sense that de Mansfeld is a man who takes his job seriously, a man worthy of commanding an army in battle. This portrait is a Mauquoy-Hendrickx State II (of II), engraved by Robertus van Voerst in collaboration with Anthony van Dyck (Antwerp, 1559 - London, 1641) as part of his Iconographie series of engraved portraits of famous people...

Pair of Religious Scenes are an original pair of old masters' artworks realized in the 18th century by Anonymous Italian artist. Oil on canvas. Pr...

Knights is an original old masters artwork realized in the first half of the 17th century by Peter Van Lear (called Il Bamboccio). Mixed colored oil painting on canvas. The artwork includes frame: 43x84.5 cm Pieter Bodding van Laer...

Poussin’s subject is the abduction of the Sabine women. Historically, this subject was known as The Rape of the Sabines (rape being derived fro...

Fascinating mythological story of Diana and Actaeon can be found in Ovid’s Metamorphoses. Very important provenance from a royal collection. Fabulous finely carved gilt wood coeval frame . Giovanni Battista Viola...

A very nice painting of a Holy Family, oil on canvas.

Decorative baroque painting, oil on canvas. Princely dance in the castle. Dimensions including frame 94 cm x 77.5 cm Dimensions without frame 79cm x 63cm.

Already in the collection of Emperor Rudolf II in the first decade of the 17th century this composition was famous. The original is by Parmigianino and Rudolf's court painter Joseph Heintz...

Hercules and Omphale Oil on panel, 52 x 41 cm According to legend, Hercules had to make atonement and became a slave to the Lydian queen Omphale. When she found out who her slave was, she married him. Falling for his mistress and made effeminate by the luxury of court life, the former hero allowed himself to become the laughing stock of the court. He dressed in women's clothes, spun wool and did other women's work, whereas Omphale wore his lion's skin and carried a wooden club. When the time of punishment was over, the hero realised his delusion and left Omphale. So far, the painting could not be clearly assigned to an artist. Nevertheless, it impresses with its fluid and convincing painting, whose colourfulness and conception are reminiscent of the Prague School around Bartholomäus Spranger. This work follows an engraving and an etching made by Michel Dorigny in 1643 after a design by Simon Vouet. It shows the same scene but the print differs in minor details from the present painting (see e.g. the head of the lion) and the treatment of the faces seems to be painted more detailed and refined. So far there is no painting...

Pair of Antique Paintings With Cherubs After Francois Boucher (1703-1770) Boucher is known for his idyllic and voluptuous paintings on classical themes, decorative allegories, and pastoral scenes. Pair of charming late 18th or early 19th Century oil paintings with Putti playing with bow and arrow...

Mocking of Christ, with all around in grisaille: the Crucifixion, the Resurrection, God the Father, Mankind after the Fall,; in the corners the four evangelists. J. Dijkstra ao, cat. The paintings of Museum Catharijneconvent, Utrecht (Museum Catharijneconvent) 2002, p. 196, pict., as Frans Francken...

As the Dutch painter Philips Wouwerman often did, this artist painted travellers stopping at an inn or a farm. One of the men got off his horse to urinate against the facade of the building. The motif of a peeing man was far from an exception in Dutch genre paintings...

Attentive observer, may I challenge you to find some unusual elements in this panel painting? One detail has to do with the symbolic use of color, the other with a later adjustment of the image. Indeed! The Blessed Virgin is not dressed in her usual sky blue cloak, which refers to her purity, but in a red robe. During the Late Middle Ages and early Renaissance, the Virgin often wore such a red garment to refer to the Passion of Christ. After all, the blessing Christ child with his orb would shed his blood for the redemption of mankind. The second strange element catches the eye when one looks closer at the little Jesus. It appears that he was originally depicted completely naked, but got on a transparent loincloth over time. In the past there were several times when nudity in art was subject to some form of censorship. For example, the supervision of Christian art was strongly encouraged by the Council of Trent (1545-1563). This assembly was dealing with the inner-ecclesiastical reform of the Roman Catholic Church. One of the important theologians who followed the council’s guidelines was Joannes Molanus (1533-1585). He did not consider the nakedness of the Christ Child to be edifying and pointed out that children could be endangered in this way. He may have been referring to the dangers of paedophilia. During the 19th century, puritanism emerged. A famous example of a moral preacher was Pope Pius IX...

Signed and dated lower left. Includes a beautiful later wooden frame cm. 137x8x182. Very Good conditions. Prov. Christie's London, February 15th 1974, n. 19. This artwork is shippe...

Willem Muys was a Dutch, 18th-century painter of history pieces, portraits and cabinet pieces. Above all, he appears to have been active as a painter of ‘wallpaper’. Until the mid-18th century, ‘wallpaper’ was not painted on paper but on coarsely woven linen. Wealthy citizens had their mansions or country estates adorned with ‘wallpaper’ with landscapes, exotic birds or chinoiseries. Willem Muys mainly painted ‘wallpaper’, which means that few of his works have been preserved. They are hardly represented in public collections. The works of his sons, Nicolaas en Robbert, both painters, are a little less rare. The painting with Rebecca and Eliezer...

Antique Flemish Baroque painting, 17th century, portrait, Medici. Oil on canvas. The painting is probably attributed to the Flemish painter Justus Sustermns. Pictured is most likel...

Hunting played an essential role in the lives of princes and nobles for centuries. It was no different in the 17th century. Paintings depicting hunting scenes were hung, for example, in the hunting lodges of elites. It should be noted that the upper bourgeoisie also began to show interest in painted hunting scenes during the 17th century. In the Southern Netherlands there were a number of skilled animal painters who produced hunting scenes, including Frans Snijders, Paul De Vos, Jan Roos, Pieter Boel and Jan Fyt. Snijders knew how to render the anatomy of the animals masterfully. Also, he managed to make his animals look intelligent. He let them express a variety of feelings. His colleague, Paul De Vos, seems to have been less familiar with animal anatomy. His animals lack a kind of individuality and psychological expression. The panel shows a boar hunt with dogs. It was a prevalent theme, portrayed by Rubens, Snijders, De Vos and others. Buyers were especially interested in the showdown between animal species. The mental and physical strength appealed to their imagination. The painter of this little work has no solid knowledge of dog breeds. Due to a lack of insight into dogs' bone and muscle structure, he makes them look rather stiff. Mainly the heads have something naïve about them. It cannot be ruled out that the artist of this painting is Jan van Kessel...

Blue tulips. Canvas, oil, 90x65 cm Arturs Amatnieks (Leon) (1974) Leon (real name: Artūrs Amatnieks) is a professional artist, working in realism t...