Baroque Paintings

Ferdinand Victor Leon Roybet. French ( b.1840 – d.1920 ). Le Mousquetaire. Oil On Panel. Signed Upper Right. Image size 31.1 inches x 24.4...

Circle or Follower of David Teniers, Peasant in a Tavern Inn, drinking and smoking. Oil on canvas, Framed: 39 x 47 cm. Typical Flemish Baroque Interior...

An important 18th century Italian Old Master tempera on copper panel Baroque painting, "The Road to Emmaus", circa 1700. The painting represents the early resurrection biblical story...

This evocative antique oil painting on canvas depicts a dramatic European genre scene centered on an encounter between a well-dressed young gentleman and two impoverished figures. Pr...

Flemish school, 17th century Orpheus and the animals Oil on canvas, 146,5 x 217 cm Provenance: South German private collection. On an impressive, room-filling format, this painting depicts "Orpheus and the Animals." The harp-playing Orpheus sits centrally in front of a tree whose trunk bifurcates above his head. This central tree frames with its crown the scenery towards the horizon and at the same time offers through branches the possibility for many birds to find space. The left half of the picture is characterized by a seascape, at the edge of which the ruins of a castle can be seen deep in the background. This seascape, framed by mountains on the horizon, is the only area where sky can be seen. On this side, waterfowl such as storks, swans and ducks can be seen. In the right half, the viewer looks into a deep European forest. On this right side, more land animals can be found, such as deer, rabbits and lions, among others. Orpheus wears opulent red and gold trimmed clothing, under his blue breastplate we see a white shirt. His feet are adorned by elaborate sandals. His head is surrounded by a radiant laurel wreath ("poeta laureatus"). The young man is clearly identifiable as the singer and poet of Greek mythology, Orpheus, by his harp, the laurel wreath and the animals surrounding him. Orpheus was one of the Argonauts who, under Jason, was searching for the Golden Fleece. He sang so beautifully that he even conquered the angry sea and enemies by the magic of his lyre. During the journey, Orpheus is said to have drowned out even the sirens with his singing. It is said that he was the greatest of all poets and charmed people, animals, stones and trees with his singing. In total, 51 birds and 37 different species are depicted in the painting. The animals are mostly depicted in great detail and, except for a few, can be identified. Mainly European species of animals are shown. Exceptions are the ostrich-like nandu peeking out from behind the deer, as well as the large parrot on the upper left, and the two lions. Similar is the case for the large animal directly behind Orpheus on the right. The shape of the head suggests an arctic fox from the polar regions, even though the body is much too large. The arctic fox was first described in 1555 by Olaus Magnus. However, it could also be a depiction of a brown or black bear. An unusual detail is the animal, which is relatively isolated in the right background and looks to the left. It is not clearly identifiable, but it shows certain similarities with the Australian kangaroo. This was first described by Vespucci in 1500 and further by Francisco Pelsaert in 1629. If it is indeed a kangaroo, this would be one of the earliest surviving pictorial representations. In this painting, Orpheus is accompanied by a small monkey playing a viola da gamba. This is an iconographic peculiarity. In general, this painting has some peculiarities compared to other paintings with "Orpheus and the animals". The central positioning of Orpheus is quite common, but he usually holds a lyre and is dressed in an antique style, but not as opulently. The choice of animals is also remarkable: European animals in particular are seen, hardly any exotic features, such as camels or elephants. The two lions in the right foreground are a quotation from Peter Paul Rubens and his depiction of "Daniel in the Lion's Den", which was realized in an engraving. The present painting can be classified as belonging to the Flemish School of the 17th century on the basis of its painterly and compositional conception. From the circle of Jan Brueghel the Younger are numerous representations of this Orpheus - theme, which take it as an opportunity to show as many exotic animals. There are also echoes of Spanish painters such as Juan de Arellano...

The Flagellation of Christ Old Master Flemish School 17th century Medium: Oil on copper Dimensions: Image size 22 x 17 cm, frame size 39 x 31 cm

The Virgin and Child with two music-making angels, after Van Dyck; in clouds, the Virgin shown half-length supporting the infant Jesus on an orb, looking to right at an angel playing...

Pastoral Scene with Figures Dutch Old Master, 17th century oil on canvas, framed Framed: 16.5 x 24 inches Canvas : 13 x 21 inches Provenance: private collection, UK Condition: very g...

Spanish School, Portrait of a Woman, Oil on Canvas, 19th century, depicting a woman with wine cup and ewer, unsigned, giltwood frame. Image: 41" H x 33" W; frame: 50" H x 42.5" W.

Oil painting on canvas 52 x 68 cm, with gilt wood frame, 58 x 75 cm. is the work of the painter couple Viviano Codazzi (Valsassina 1603-Rome 1670), who specialized as a quadraturist...

A highly atmospheric panoramic harbor capriccio painted in the Venetian tradition of the late 17th century, depicting an imagined Mediterranean port animated by sailing vessels, fish...

Outstanding still life Salami, Bread, Biscuits Glass and Glass Bottles, realized with the technique of Oil on Canvas and surrounded by a modern wooden frame. With its soft tones and...

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...

Italian painter (18th century) - Cronus. 90.5 x 106 cm. Oil on canvas, unframed (not signed). The painting depicts Cronus, Greek deity of time and the harvest, in a composition of...

17th Century Italian School St Peter Oil on Canvas 55 1/2 x 41 inches This large and tender rendering of Saint Peter was painted by the hand of great Italian painter of the 17th Cen...

Frans Wouters was a Flemish Baroque painter who mainly created smaller cabinet pieces. He was initially apprenticed to Pieter van Avont in Antwerp, but then moved to Rubens‘ worksho...

18th Century Spanish Oil on Copper — Virgin Dolorosa Fine mid-18th century Spanish School oil on copper depicting the Virgin Dolorosa (Our Lady of Sorrows). The painting shows excel...

Oil on canvase realized by Giovanni Francesco Romanelli, so called "Il Viterbese" (1610-1662). It depicts the famous abduction of Persephone, daughter of Zeus and Demeter, by Hades....

This impressive mid-17th-century oil painting by Flemish artists Pieter Bout (1640 to 1645-1689 to 1719) and Adriaen Frans Boudewijns (1644-1719) depicts an extensive mountainous Rhi...

Oil on canvas attributed to Philipp Peter Roos Rosa da Tivoli, realized in the late 17th Century in Italy. Large work with very fine workmanship, in particular in the creation of an...

Portrait of a Child with Pet Dog Italian School, early 1600's circle of Annibale Carracci (1560-1609) oil on canvas, framed Framed: 11.5 x 9 inches Board : 10.5 x 8.5 inches Provenan...

Oil on canvas "Cupid" circa 1900 after Anthony van Dyck additional info: Title: cupid Style: baroque Medium: oil on canvas Signature: unsigned Provenance: private collection Canvas...

Giulio Carpioni (Venice 1613 - Vicenza 1678) - Madonna and Child with Saints Joseph, Francis, Dominic and Anthony of Padua. 61 x 37.5 cm. Oil on canvas, unframed (not signed). Bib...

Eduardo León GARRIDO (French, Madrid 1856-1949 Caen) Picture Size: 16 x 13" (41 x 33cm) Outside Frame Size: 22 x 19" (56 x 48cm) Eduardo León Garrido was born in Madrid in 1856. He...

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....

English School, 20th century painted in an earlier 'Tudor' style signed oil painting on paper stuck down on board, framed framed: 32 x 25 inches board: 25 x 18 inches provenance: fro...

A masterful example of Italian Mannerist painting, this exceptional panel was composed by the renowned Florentine painter Domenico Puligo. Alongside Jacopo Pontormo and Rosso Fiorentino, Puligo is remembered as one of the foremost figures of the Mannerist movement that rose to prominence during the 16th century in Florence. This panel of the Virgin Mary with the Christ child and Saint John the Baptist is a characteristic example of his celebrated devotional images, which grace museums such as the Metropolitan Museum of Art (New York), Museo del Prado (Madrid), Palazzo Borghese (Rome), and Palazzo Pitti (Florence), among many others. Puligo’s skill with color is fully demonstrated in the beautifully preserved work. Considering its age, the vibrancy and the sheer range of color is remarkable. The Virgin Mary’s crimson dress...

Circle Wouwerman, Horseman by a Tent, Riders Playing Cards (?), Old Master Dutch Art, Travellers or Riders resting by a tent and gambling

Circle of Jusepe de Ribera (Xàtiva 1591 - Naples 1652) - Saint Joseph. 108 x 80 cm (without frame) - 123 x 95 cm (with frame). Oil on canvas, in carved and gilded wooden frame (not...

Artist: Martha Ochoa Medium: Oil on canvas Size: 32 x 40 in. unframed. Signed, lower right. This vibrant oil on canvas painting presents a lively and detailed nature scene, in Marth...

Frank Chabry (1916-1979) was a 20th-century artist whose career spanned several transformative decades in the art world. His work likely reflects the artistic evolution of the mid-20...

This intriguing mid 18th-century German oil painting depicts Dr Johann David Wechsler, a respected civic figure. Painted around 1760, when Wechsler was in his early 30s, it presents ...

An early eighteenth-century, Italian baroque figural oil showing a group of cherubs or Amorini grouped together before red velvet drapes, one reclining on a wooden cross and wearing ...

Judith Beheading Holoferne is an oil painting made by Giovanni Raffaele Badaracco, mid-17th Century. Oil on canvas, cm. 102x75.. Very good condition. Prov. Sotheby's, Amsterdam,...

This expressive genre scene, an oil on canvas, presents a magnificent example of Baroque-era painting. The dramatic narrative of the "dice game" subject - where the emotions of an ea...

This exquisite painting, resembling a precious jewel, serves as an exceptional illustration of the devotional cabinet paintings created by Giuseppe Maria Crespi, a highly original Bolognese artist during the late 17th and early 18th centuries. Crespi's distinctiveness extended beyond his unique style and technique to the subjects he chose to portray. While his portraits and genre paintings often displayed a light-hearted and even irreverent tone, his treatment of religious themes resonated with deep emotion, even in its most inventive forms. This recently uncovered work by Crespi is a typical representation, invoking the tender connection between mother and child, and the Child's destiny, all within a compact and intimate format. Executed on a small scale, the painting showcases Crespi's remarkable sensitivity and mastery of paint, especially evident in the expressive brushwork of the drapery. The restrained and focused composition of the Holy Family allows for contemplation of the figures. Mary cradles the Christ child gently, seemingly presenting him to the viewer, her gaze knowing as the infant holds a diminutive cross, symbolizing his future crucifixion. Joseph appears in the background, emerging from the left side of the frame, gazing upward with folded hands in prayer. Individual motifs from this painting reappear in other works by Crespi, suggesting a synthesis of familiar elements into a vibrant composition. The artist's revisitation of designs throughout his career is evident, and this painting on copper likely belongs to a later period, reflecting stylistic ties to other works and Crespi's increased production of smaller devotional pieces. Distinguished by its cool palette, bold coloration, and the expressive force of the artist's hand, this Holy Family painting...

Italian painter (17th century) - The Entombment of Christ. 51 x 54 cm (without frame) - 57 x 60 cm (with frame). Oil on canvas, in lacquered and gilded wood frame (not signed). Th...

Study of Nicolas Poussin Landscape with a Man Washing His Feet in Oil on Board+ Small-scale study of Poussin's famous work by an unknown artist (early 20th Century). A man sits at t...

An exquisite 18th-century Old Master oil painting on copper plate by the celebrated Austrian Baroque master Franz de Paula Ferg (1689-1740). Titled "Animated Ruins" (Scène de ruines ...

Venetian painter (early 17th century) - Madonna and Child with Saint George and Saint Nicholas. 41.5 x 35.5 cm (without frame) - 50.5 x 44.5 cm (with frame). Oil on panel, in a lat...

Frank Chabry (1916-1979) was a 20th-century artist whose career spanned several transformative decades in the art world. His work likely reflects the arti...

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...

Domenichino, actually Domenico Zampieri (after) Bologna 1581 – 1641 Naples Rinaldo and Armida in Armida's Enchanted Garden, circa 1700 Oil on canvas (doubled) Size: 80 x 138 cm ...

Italian School, 17th century oil on canvas (laid on board), framed framed: 15 x 21 inches board: 14 x 20 inches provenance: private collection, France condition: very good and sound ...

This mid-17th-century Spanish oil on canvas depicts a dignified man of learning - a theologian, or perhaps a cathedral canon. Dressed in a black cassock, marked by a vertical row of...

Flemish Baroque painting. Romantic scene. Signed and dated. J. HOREMANS 1760. This 100% authentic painting captivates with its powerful colors. A real eye-catcher. Dimensions witho...

Portrait of a Bishop with a Crosier, 1700. The painting depicts a holy bishop or a high-ranking prelate, shown in a half-length portrait with his face in three-quarter profile to the...

Circle of Teniers, Peasants in a Landscape passing by a river and an Inn.

By Martha Ochoa Oil on Canvas Canvas Size: 59" x 39" Framed Size: 67" x 47.25" This lovely painting by Martha Ochoa is from the Cusco tradition. The Cusco School was an artistic tra...

Landscape with hunters by a lake. 18th century. Oil painting on canvas, from the French or Northern Italian school, Louis XV period. Probably part of the door decoration in an interi...

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...

Frank Chabry (1916-1979) was a 20th-century artist whose career spanned several transformative decades in the art world. His work likely reflects the arti...

Baroque "Arcadian Fantasy Landscape" – Oil on Canvas (circa 1700) A mesmerizing early 18th-century Baroque landscape, capturing an idealized Arcadian vision of nature, architecture, ...

Flemish Fair (After Jan Brueghel The Elder) This is a very large and impressive version of the original painting Flemish Fair Cr. 1600. Beaut...

This ambitious composition illustrates the ancient episode of The Ring of Polycrates, drawn from Herodotus. In the story, the king of Samos, blessed with continuous success, is advis...

By Martha Ochoa Oil on Canvas Canvas Size: 48" x 36" Framed Size: 53.75" x 42.5" This lovely painting by Martha Ochoa is from the Cusco tradition. The Cusco School was an artistic t...

Giuseppe Bernardino Bison (Palmanova 1762 - Milan 1844) - Holy Family. 32 x 26 cm (without frame) - 36 x 30 cm (with frame).  Pencil and white chalk on paper, in a gilded wood fram...

Antique Painting from the 18th Century - Large Landscape with Classical Ruins and Figures, a Baroque capriccio featuring architectural ruins and figures; a refined antique painting f...

Early 18th Century still life, very close to Pedro de Camprobín.

By Martha Ochoa Oil on Canvas Canvas Size: 48" x 36" Framed Size: 58.75" x 47" This lovely painting by Martha Ochoa is from the Cusco tradition. The Cusco School was an artistic tradition that first emerged in the 16th and 17th centuries in Cusco, Peru, blending indigenous and European baroque artistic styles. It is renowned for its catholic iconography, which often feature vibrant colors, elaborate ornamentation, and blended elements combining Catholic and native symbolism. This painting portrays the angel Salgiel playing a horn dressed in immaculate red, green, blue, and yellow clothing. About the Artist: Martha Ochoa, born in Cusco, Peru, studied at Santa Ana School, the Cusco School of Fine Arts, and San Antonio Abad University, focusing on design, architecture, and restoration. She is the granddaughter of renowned Peruvian artists Francisco Olazo, a founder of the Cusco School of Fine Arts, and Ernesto Olazo, a famous sculptor. Influenced by the Cusco School, she transformed religious themes into decorative renditions of Archangels and Madonnas with Peruvian colonial...