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Style: Baroque
Fragmento
Located in Brooklyn, NY
This stunning photograph by Fidel Santos captures an ornate Baroque hand-carved scrolling filigree, a lone remnant of a once-great sculpture. As a testament to the incredible talents...
Category

21st Century and Contemporary Baroque Art

Materials

Plexiglass, Archival Ink, Mixed Media

A Fine Austrian/Russian Oil on Board "Charging Cossack Warriors on Horseback"
Located in LA, CA
Adolf Constantin Baumgartner Stoiloff (Austrian/Russian, 1850-1924) a fine oil on board "Charging Cossack Warriors on Horseback" within an ornate giltwood frame, circa 1890 Born in ...
Category

Late 19th Century Baroque Art

Materials

Gold Leaf

'Diana, Goddess of the Chase' by Artist 17th Century, French School, Circa 1660
Located in Bruges, BE
Artist 17th Century French School Circa 1660 'Diana, Goddess of the Chase' Signature: not signed Medium: tempera on paper applied to oak panel Dimensions: image size 23.5 x 18.5 cm...
Category

17th Century Baroque Art

Materials

Paper, Egg Tempera, Wood Panel

Venus II
Located in Palm Beach, FL
The Art of Currency: The Sculptural Mastery of Kim Seungwoo In the vibrant art scene of South Korea, one artist stands out for his innovative approach to sculpture: Kim Seungwoo. With a profound appreciation for both traditional craftsmanship and contemporary themes, Kim has carved a unique niche for himself by transforming real Korean coins...
Category

2010s Baroque Art

Materials

Copper, Steel

"Virgen del Carmen II" Peruvian Cusco School Style Virgin Mary by Martha Ochoa
Located in Austin, TX
By Martha Ochoa Oil on Canvas Canvas Size: 48" x 32" Framed Size: 55.5" x 40.5" 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 Virgen del Carmen...
Category

21st Century and Contemporary Baroque Art

Materials

Canvas, Oil

"Virgen de la Divina Pastora" Peruvian Cusco School Style Image of Virgin Mary
Located in Austin, TX
By Martha Ochoa Oil on Canvas Canvas Size: 48" x 32" Framed Size: 56" x 40.5" This lovely painting by Martha Ochoa is from the Cusco tradition. The Cusco School was an artistic trad...
Category

21st Century and Contemporary Baroque Art

Materials

Canvas, Oil

"San Miguel" Peruvian Cusco School Depiction of Saint Michael by Martha Ochoa
Located in Austin, TX
By Martha Ochoa Oil on Canvas Canvas Size: 48" x 32" Framed Size: 57.5" x 42" This lovely painting by Martha Ochoa is from the Cusco tradition. The Cusco School was an artistic trad...
Category

21st Century and Contemporary Baroque Art

Materials

Canvas, Oil

"The Virgen de Huápulo" Depiction of the Virgin Mary by Martha Ochoa
Located in Austin, TX
By Martha Ochoa Oil on Canvas Canvas Size: 23.75" x 15.75" Framed Size: 27" x 19.25" This lovely painting by Martha Ochoa is from the Cusco tradition. The Cusco School was an artist...
Category

1990s Baroque Art

Materials

Canvas, Oil

Abundance by Johannes Rosierse
Located in New Orleans, LA
Johannes Rosierse 1818 – 1901 | Netherlands Abundance Signed “J. Rosierse” (lower right) Oil on canvas Captivating and mysterious, this dynamic painting by Johannes Rosierse demon...
Category

19th Century Baroque Art

Materials

Canvas, Oil

L'Aurora
By (After) Guido Reni
Located in Los Angeles, CA
A monumental 19th century Italian oil painting on canvas. Titled: Aurora, after Guido Reni. Presented in the original carved gilt-wood frame. Guido Reni’s masterpiece L’Aurora was executed in 1614, and the striking image is as powerful today as it would have been to a viewer at the beginning of the 17th Century. Aurora, the Roman goddess of dawn, ushers in the day by leading Apollo, the god of light...
Category

19th Century Baroque Art

Materials

Oil

Angels in Adoration
Located in New York, NY
Provenance: Private Collection, USA. This drawing is by Ercole Procaccini the Younger, who represents the final generation of painters in the storied Procaccini family. The son of C...
Category

Early 17th Century Baroque Art

Materials

Paper, Chalk

Study of a Nude Man
By Francesco Maffei
Located in New York, NY
Provenance: John Barnard, London (Lugt 1419) or possibly Saint John Dent, London and Milton (Lugt 1438) Unidentified collector’s mark “W,” lower left of the mount (Lugt 2591a) Private Collection, USA. This expressive and boldly executed drawing is a work by Francesco Maffei...
Category

17th Century Baroque Art

Materials

Paper, Ink, Pen

'The Death of Hercules' from 'The Temple of the Muses' — 18th Century Engraving
Located in Myrtle Beach, SC
Bernard Picart, 'The Death of Hercules' from 'The Temple of the Muses', engraving, 1730. Signed in the plate, lower left. Titled in French, English, German, and Dutch. A superb, rich...
Category

1730s Baroque Art

Materials

Engraving

1912 'Napoleon Bonaparte-Bataille de Rivoli'
Located in Brooklyn, NY
Paper Size: 19.75 x 26 inches ( 50.165 x 66.04 cm ) Image Size: 12.5 x 21 inches ( 31.75 x 53.34 cm ) Framed: No Condition: A-: Near Mint, very light signs of handling Addition...
Category

1910s Baroque Art

Materials

Woodcut

1912 After Pellerin 'Passage Du Ponte D'Arcole'
Located in Brooklyn, NY
Paper Size: 19.75 x 25.5 inches ( 50.165 x 64.77 cm ) Image Size: 12.25 x 20.5 inches ( 31.115 x 52.07 cm ) Framed: No Condition: A-: Near Mint, very light signs of handling Ad...
Category

1910s Baroque Art

Materials

Woodcut

Roman 18th century terracotta model for the sculpture of San Camillo de Lellis
Located in London, GB
This remarkably fluid terracotta bozetto was made in preparation for Pietro Pacilli’s most important public commission, a large-scale marble statue of San Camillo de Lellis for the nave of St Peter’s Basilica in Rome. Expressively modelled, this terracotta sculpture is a rare and significant work made by a major Roman sculptor at a transformative moment of European sculpture. Pacilli began his working life on the great Baroque decorative projects initiated in the seventeenth century, but he found success as a restorer of ancient sculpture working to finish antiquities for a tourist market, becoming an important figure in the emergence of an archaeologically minded Neoclassicism. Pacilli trained Vincenzo Pacetti and provided important decorative work for the Museo Pio-Clementino, at the same time he is recorded restoring some of the most celebrated antiquities excavated and exported during the period. Pacilli was born into a family of Roman craftsmen, his father Carlo was a wood carver, and Pacilli is recorded working with him on the Corsini Chapel in San Giovanni Laternao as early as 1735. In 1738 his terracotta model of Joseph and Potiphar’s Wife won the first prize in the second class of the sculpture concorso at the Accademia di San Luca, this is particularly notable as Bartolomeo Cavaceppi came third. He worked as a carver and stuccoist completing works for the churches of San Marco and SS. Trinita dei Domeniciani Spagnoli. Pacilli operated as a sculptor and restorer of antiquities from his studio at the top of the Spanish Steps, close to Santa Trinita dei Monti, where he is listed as a potential vendor to the Museo Pio-Clementino in 1770. In 1763 Pacilli completed a silver figure of San Venanzio for the treasury of San Venanzio. He is recorded as Pacetti’s first master and it was evidently through Pacilli that he began to acquire his facility as a restorer of ancient sculpture. Pacilli, at his studio ‘poco prima dell’Arco della Regina alla Trinita dei Monti,’ exercised, what the nineteenth-century scholar, Adolf Michaelis called ‘rejuvenating arts’ on several important pieces of classical sculpture, including in 1760 the group of a Satyr with a Flute for the natural brother of George III, General Wallmoden, Hanovarian minister at Vienna. In 1765, Dallaway and Michaelis record that Pacilli was responsible for the restorations, including the addition of a new head, to the Barberini Venus which he had acquired from Gavin Hamilton. The Venus was then sold to Thomas Jenkins, who in turn passed it on to William Weddell at Newby Hall. In 1767 Pacilli exported a series of ancient busts ‘al naturale’ including portraits of Antinous, Julius Ceaser and Marus Aurelius, also a statue of a Muse and a Venus. As early as 1756 Pacilli seems to have been operating as an antiquarian, helping to disperse the collection of the Villa Borrioni. Pacilli supplied sculpture to notable British collectors, including Charles Townley, who on his first trip to Italy purchased the Palazzo Giustiniani statue of Hecate from Pacilli. Pacilli was involved with the Museo Pio Clementino from its conception, supplying busts of Julius Ceaser and a Roman Woman as well as completing stucco putti surmounting the arms of Pope Bendedict XIV to signal the entrance to the new Museo Critiano. In 1750 Il Diario Ordinario del Chracas announced that Pacilli had begun work on a sculpture of San Camillo de Lellis for St Peter’s. Camillo de Lellis founded his congregation, the Camillians, with their distinctive red felt crosses stitched on black habits in 1591. Having served as a soldier in the Venetian army, Camillo de Lellis became a novitiate of the Capuchin friars, he moved to Rome and established a religious community for the purpose of caring for the sick. In 1586 Pope Sixtus V formerly recognised the Camillians and assigned them to the Church of Santa Maria Maddalena in Rome. Camillo de Lellis died in 1614 and was entombed at Santa Maria Maddalena, he was canonised by Benedict XIV on June 26, 1746. It was an occasion that prompted the Camillians to make a number of significant artistic commissions, including two canvases by Pierre Subleyras showing episodes from San Camillo’s life which they presented to Benedict XIV. In 1750 Pacilli was commissioned to fill one of the large niches on the north wall of the nave with a sculpture of San Camillo. The present terracotta bozetto presumably had two important functions, to enable Pacilli to work out his ideas for the finished sculpture and at the same time to show his design to the various commissioning bodies. In this case it would have been Cardinal Alessandro Albani and Monsignor Giovan Francesco Olivieri, the ‘economo’ or treasurer of the fabric of St Peter’s. Previously unrecorded, this terracotta relates to a smaller, less finished model which has recently been identified as being Pacilli’s first idea for his statue of San Camillo. Preserved in Palazzo Venezia, in Rome, the terracotta shows San Camillo with his left hand clutching his vestments to his breast; the pose and action more deliberate and contained than the finished sculpture. In producing the present terracotta Pacilli has expanded and energised the figure. San Camillo is shown with his left hand extended, his head turned to the right, apparently in an attempt to look east down the nave of St Peter’s. The model shows Pacilli experimenting with San Camillo’s costume; prominently on his breast is the red cross of his order, whilst a sense of animation is injected into the figure through the billowing cloak which is pulled across the saint’s projecting right leg. The power of the restrained, axial contrapposto of bent right leg and outstretched left arm, is diminished in the final sculpture where a baroque fussiness is introduced to the drapery. What Pacilli’s terracotta demonstrates, is that he conceived the figure of San Camillo very much in line with the immediate tradition of depicting single figures in St Peter’s; the rhetorical gesture of dynamic saint, arm outstretched, book in hand, head pointed upwards was perhaps borrowed from Camillo Rusconi’s 1733 sculpture of St. Ignatius...
Category

18th Century Baroque Art

Materials

Terracotta

18th century oil sketches for a Baroque interior - a pair
Located in London, GB
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...
Category

Early 18th Century Baroque Art

Materials

Oil, Canvas

Old Master Drawing, 17th Century, Italian Art, Peace, Allegory, Love, Dove
Located in Greven, DE
Oak Leaf Peace Wreath with Dove and Serpent Around 1700 Black chalk on thin, brownish paper 39,8 x 52,7 cm Inscribed "N" in the centre left This drawing is probably by an Italian Ar...
Category

17th Century Baroque Art

Materials

Paper, Chalk

Interior Meeting - Original Etching by Cornelis Meyssens - 17th Century
Located in Roma, IT
Interior Meeting is an original etching realized by Cornelis Meyssens ( 1640-1573). Good conditions, except for some foldings. Included a Passepartout: 34 x 49 cm The artwork repres...
Category

17th Century Baroque Art

Materials

Etching

Spaccato del Mauseleo di Ottaviano Augusto, Piranesi Roman etching, 1800
Located in Melbourne, Victoria
From Piranesi’s, Antichità Romane, Paris edition published by Francesco Piranesi. Piranesi was an Italian architect and etcher. He published series of etchings of archaeological in...
Category

Early 1800s Baroque Art

Materials

Etching

Bust of Pope Innocent XI Odescalchi by Domenico Guidi
Located in New Orleans, LA
This monumental bust is a museum-quality example of Roman Baroque sculpture. Crafted by the legendary Domenico Guidi and carved from Carrara marble, the impressive portrait captures the visage of Pope Innocent XI, Benedetto Odescalchi (1611-1689). It presents a larger-than-life example of Guidi’s remarkable skill as a sculptor, which ultimately made his workshop one of the most important in Rome during his age. Today, his works are rarely found on the market, particularly his extraordinary works in marble. Pope Innocent XI was born Benedetto Odescalchi into an Italian noble family of prominent bankers. Spending his early years in banking, he eventually turned to the law, earning his doctorate in 1639. His background would serve him well in his service to the papacy, and he became known as a frugal and devout member of the Church. In 1676, he was unanimously elected Pop after the death of Clement X. During his nearly 13-year reign, he instilled his own personal ideals of austerity and frugality onto the Church, with a deep commitment to reform and piety. He is captured here by Guidi in his traditional Pope’s mozzetta and camauro cap. A wide stole is draped over his shoulders, ornamented by acanthus leaves and the coat of arms of the Odescalchi family. It displays Guidi’s mastery over the chiaroscuro effect, particularly in the high level of contrast in his cheeks and his eyes, which Guidi achieved through various methods of high polish. A very similar portrait sculpture of Pope Innocent XI by Guidi can be found in the collection of the Royal Castle in Warsaw. The Warsaw bust belongs to a series of portraits of popes which the Odescalchi family commissioned from Domenico Guidi in the 1690s. Compared to that example, the present bust is far more dramatic, with deeper cut lines and a more precise expression. It is likely that the present piece was seen by the Odescalchi family, who ordered a similar one to be made. The piece was almost certainly intended to be displayed in a niche, given its dramatic cutting and its roughly carved back. Others of Guidi’s busts can be found in important collections throughout Italy, England and the United States, though many of these are lesser bronze repetitions. A bronze bust of the Pope Alexander VIII by Guidi is currently in the collection of the Victoria & Albert Museum (London), while a terracotta version of the same is in the Los Angeles County Museum. A bronze of Pope Alexander VIII can be found in the Princely Collection of Lichtenstein, and his impressive marble papal bust of Clement IX graces the pope’s tomb in Santa Maria Maggiore. The present bust of Pope...
Category

17th Century Baroque Art

Materials

Marble

Exposition Esquisses de Rubens 1937 Exposition linen backed vintage poster
By (After) Peter Paul Rubens
Located in Spokane, WA
Exposition Esquisses de Rubens. Musees Royaux des Beaux-Arts de Belgique, Bruxelles. Original, linen backed early (1937) Rubens Exposition. Very rare exposition poster...
Category

1930s Baroque Art

Materials

Lithograph

Virgin and Child with the Infant Saint John
By Domenico Puligo
Located in New Orleans, LA
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...
Category

16th Century Baroque Art

Materials

Oil, Panel

"The Beggars Opera" and " A Just View of The British Stage" Original Etchings
Located in Houston, TX
The original design for the top half was formally attributed to William Hogarth, according to the Met Museum, and published by John Bowles in 1728. The edition here has a second half...
Category

1820s Baroque Art

Materials

Etching

Portrait de Fanny Charrin /// French Impressionist Art Nouveau Lady Woman Girl
Located in Saint Augustine, FL
Artist: Malo-Renault (French, 1870-1938) Title: "Portrait de Fanny Charrin" Portfolio: Gazette des Beaux-Arts *Issued unsigned Year: 1909 Medium: Original Etching and Drypoint on wov...
Category

Early 1900s Baroque Art

Materials

Intaglio, Drypoint, Etching

Platter with Kidney, Blackberries, Kimchi, Eel (Memento Mori)
Located in Kansas City, MO
Limited Edition: 7 of 25 Signed, dated and numbered in ink on label affixed verso COA provided In Sherman's photographs she is experimenting with groupings of different objects wit...
Category

2010s Baroque Art

Materials

Digital, Archival Paper, Archival Ink, Photographic Paper

'The Deluge' from 'The Temple of the Muses' — 18th Century Engraving
Located in Myrtle Beach, SC
Bernard Picart, 'The Deluge' from 'The Temple of the Muses', engraving, 1730. Signed in the plate and dated '1730' lower left. Titled in French, English, German, and Dutch. A superb...
Category

1730s Baroque Art

Materials

Engraving

Set of 6 French Louis XIV period chimney-piece design engravings by Jean Dolivar
Located in Melbourne, Victoria
'Luire de Cheminees a la Moderne nouvellement Invente et Grave par Jean Dolivar.' Collection of 6 engravings with designs for chimney-pieces. Published in Paris, circa 1670. 210mm ...
Category

Mid-17th Century Baroque Art

Materials

Etching, Engraving

17th century engraving black and white landscape ancient building scene
Located in Milwaukee, WI
"Tempo di Minerva Medica" is an original engraving by Israel Silvestre, titled along the lower edge. This miniature print depicts the ruins of the Temple of Minerva Medica in the Rom...
Category

1650s Baroque Art

Materials

Engraving

17th century engraving black and white landscape ancient building scene
Located in Milwaukee, WI
"Tempio della Sibilla in Tivoli" is an original engraving by Israel Silvestre, titled along the bottom edge of the work. This miniature print features the Temple of the Sybil perched...
Category

1650s Baroque Art

Materials

Engraving

1912 Napoleon Bonaparte 'Bataille D'Esling- Mort De Montebello'
Located in Brooklyn, NY
Paper Size: 19.5 x 25.5 inches ( 49.53 x 64.77 cm ) Image Size: 13 x 21 inches ( 33.02 x 53.34 cm ) Framed: No Condition: A-: Near Mint, very light signs of handling Additional...
Category

1910s Baroque Art

Materials

Woodcut

Capriccio Landscape View with Figures
Located in Houston, TX
Capriccio painting in a greek or Italian style with women around a river. Capriccio is a fanciful architectural landscape painting. It was popular in Italy in the 18th Century. Most ...
Category

Late 19th Century Baroque Art

Materials

Gouache

Old Master Drawing, Baroque, Jacob de Wit, Allegory of Victory, Putti, Ships
By Jacob De Wit
Located in Greven, DE
Two putti with symbols of war and victory (cannons, cannonballs, armour, anchor, lion's head, laurel branch/ olive branch, flag, staff with helmet) in pediment triangle. Probably a d...
Category

Late 17th Century Baroque Art

Materials

Paper, Crayon

17th century engraving black and white landscape ancient building scene
Located in Milwaukee, WI
"Veduta del Palazzo Maggiore" is an original engraving by Israel Silvestre, titled along the lower edge of the image. The miniature image depicts an idyllic landscape framed with sil...
Category

1650s Baroque Art

Materials

Engraving

On the Beach Baroque Style Figurative
Located in Soquel, CA
Study of a female nude in the Baroque style, by acclaimed California artist Ben Messick (American, 1891-1981). Signed "Ben Messick 40" in plate and pencil lower left, by the estate. Unframed. Image size, 4.75"L x 10.5"H; overall mat size is, 16"L x 20"H. Some foxing to over-mat. The following is submitted by Jim Lafferty whose sources include the autobiography of the artist: William Washington Messick married Sarah A. Bristow January 2,1889 and from this marriage a son, Benjamin Newton Messick was born on January 9, 1891 on a farm near Strafford, Missouri. His art talent was apparent from the time he was a child and later recognized by his commanding officer in World War I. He completed his training in Los Angeles at Chouinard in the late-1920s and is well-known for his Regionalist scenes and Modernist paintings. He was an instructor at Chouinard through the 1950s & influenced a generation of LA Modernists. Little is recorded in his autobiography about Messick's life from his teen years and service during the War. He enrolled at Chouinard Institute in the Fall of 1925, and was given a three-year scholarship by Mrs. Chouinard. In 1925 he won a cash award at the Los Angeles County Fair for a group of pen and charcoal drawings done in the parks and streets of Los Angeles. These works give the appearance of being spontaneous and fluid. In 1930 Messick left Chouinard as a full-time student and rented an apartment on West Eighth Street to use as a studio and living quarters. He had his own ideas on what he was trying to accomplish in art. "If you should ask what is the message of my drawings, I should say that they may explain themselves or may be just a technical exercise." By the mid 1940s, Messick's position in the art world had been well established as a teacher, painter, printmaker, writer and critic. Over his life time he had over 400 shows and exhibitions. Starting in 1939 he produced a number of stone lithographs that appear to the untrained eye as original drawings. To Messick the image was the most important aspect of his lithographs, and his signature in the plate was sufficient. Hand signing each lithograph did not seem necessary to him. He exhibited prints widely including the Albany Print Club and the Metropolitian Museum. To further substantiate the authenticity of Messick's prints the Eclectic Gallery under the authority of the Messick family posthumously pencil signed each estate-acquired stone lithograph. Messick had a childhood fascination with the circus and started drawing and painting the circus in 1935. His circus work, especially his clown studies, and his lithographs became his trademark work for in the 1940s and 1950s. A critic for ART REVIEW described his Big Top work this way: "His circus canvases...
Category

1940s Baroque Art

Materials

Ink, Paper

17th century engraving black and white landscape ancient building scene
Located in Milwaukee, WI
"Veduta Presso di San Stefano Rotondo" is an original engraving by Israel Silvestre, titled along the bottom of the image. This small etching shows an unusual view of the church San ...
Category

1650s Baroque Art

Materials

Engraving

18th Century, Portrait of a Lady in a Tondo, red chalk drawing
Located in Paris, FR
French (?) school circa 1770 Portrait of a Lady in a Tondo, red chalk on paper 20 x 29 cm Numbered 25 on the upper left Little holes in the bottom (intended for binding) Not framed ...
Category

1770s Baroque Art

Materials

Chalk

Portrait of a Gentleman
By Ippolito Scarsella (Scarsellino)
Located in New York, NY
Provenance: Suida-Manning Collection, New York Private Collection Exhibited: Venetian Paintings of the Sixteenth Century, Finch College Museum of Art, New York, October 30-December 15, 1963, no. 31. Veronese & His Studio in North American Collections, Birmingham Museum of Art, Oct. 1-Nov. 15, 1972, and Montgomery Museum of Fine Arts, Dec. 5-Dec. 31, 1972 Literature: Robert L. Manning, A Loan Exhibition of Venetian Paintings of the Sixteenth Century, exh. cat. New York 1963, cat. no. 31ill., as by Veronese Stephen Clayton and Edward Weeks, eds., introduction by David Rosand, Veronese & His Studio in North American Collections, Birmingham 1972, as by Veronese, p. 38 ill. Terisio Pignatti, Veronese, Venice 1976, I, p. 199, cat. no. A225, II, fig. 908, as attributed to Veronese Terisio Pignatti and Filippo Pedrocco, Veronese; catalogo completo dei dipinti, Florence 1991, no. 54°, as attributed to Veronese. Terisio Pignatti and Filippo Pedrocco, Veronese, Milan 1995, II, pp. 517-518ill., cat. no. A 56, under attributed paintings, by Veronese and workshop) John Garton, Grace and Grandeur; The Portraiture of Paolo Veronese, London-Turnhout 2008, p. 237, fig. 77, cat. no. R16, as workshop of Veronese. Scarsellino’s art is widely regarded as critical link between the Renaissance and the Baroque styles in Emilian painting; not only was he an important transmitter of the heritage of the Renaissance, but he was also open to innovative ideas, and was one of the earliest to experiment with the trend to naturalism that would become fundamental to art of the new century. Born around 1550, he received his earliest training from his father Sigismondo, an architect and painter; it was probably while working at his father’s side as a youth that he acquired the nickname Scarsellino, or “little Scarsella”. After absorbing the principles of his art in Ferrara and Parma, he went to Venice in 1570, staying for four years and working in the shop of Veronese. In the following decade, his art —especially in terms of its piety and its development of landscape— demonstrates a strong sympathy with that of the Carracci, with whom he worked in 1592-1593 at the Palazzo dei Diamanti in Ferrara. Maria Angela Novelli and later Alessandra Frabetti both propose that Scarsellino traveled to Rome, although such a trip has not been documented; if he did travel to Rome, it probably would have occurred during the years that Scarsellino’s colleagues Agostino and Annibale Carracci were there, that is, beginning in 1595 and until 1609. The last decades of Scarsellino’s career again involve stylistic experimentation, this time in a manner that would bring his work very close to the progressive figurative naturalism of Carlo Bononi and prepare the way for Guercino. The present portrait of a distinguished gentleman had been long thought to be by Paolo Veronese and was in fact attributed to him by such distinguished connoisseurs as Adolfo Venturi and Wilhelm Suida. The portrait’s style is, however, distinct from Veronese’s, although clearly indebted to it, and the attribution to the young Scarsellino is wholly convincing. The painting would then date from the 1570s – a date confirmed by the costume the subject wears. The puffed hat that appears in the painting had a rather short-lived vogue in the early 1570s. One sees it in Giambattista Moroni’s Portrait of Count...
Category

18th Century and Earlier Baroque Art

Materials

Canvas, Oil

Mid Century Still Life with Pastries and Fruit
Located in Soquel, CA
Beautiful modern still life done in the baroque style: staged fruit, glass with reflections of light from an unseen source, a cup of tea and a crystal server filled with a variety of...
Category

1940s Baroque Art

Materials

Cardboard, Linen, Oil

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

2010s Baroque Art

Materials

Canvas, Oil

Still life with a sewing machine. 2019. Oil on canvas, 60x90 cm
Located in Riga, LV
Still life with a sewing machine. 2019. Oil on canvas, 60x90 cm Arturs Amatnieks (Leon) (1974) Leon (real name: Artūrs Amatnieks) is a professional...
Category

2010s Baroque Art

Materials

Canvas, Oil

King Richard II /// Old Masters British Royal Family Portrait Engraving Art
Located in Saint Augustine, FL
Artist: George Virtue (English, 1684-1756) Title: "King Richard II" Portfolio: The Heads of the Kings of England, Proper for Mr. Rapin's History *Issued unsigned, though signed by Virtue in the plate (printed signature) lower right Year: 1736 Medium: Original Engraving on laid paper Limited edition: Unknown Printer: Unknown, London? UK Publisher: James, John, and Paul Knapton, London, UK Reference: Brunet No. IV.1115; Bryan V. No. 294 Framing: Not framed, but matted with 100% cotton rag matting from Holland Matted size: 19.5" x 15.25" Image size: 11.25" x 7.25" Condition: In excellent condition Notes: Comes from Virtue's 1736 "The Heads of the Kings of England, Proper for Mr. Rapin's History" portfolio of approximately 63 engravings. Richard II (1367-1400), also known as Richard of Bordeaux, was King of England from 1377 until he was deposed in 1399. Richard's father, Edward, Prince of Wales, died in 1376, leaving Richard as heir apparent to his grandfather, King Edward III...
Category

1730s Baroque Art

Materials

Intaglio, Engraving, Laid Paper

King Henry VII /// Old Masters Royal Family British Portrait Face Engraving Art
Located in Saint Augustine, FL
Artist: George Virtue (English, 1684-1756) Title: "King Henry VII" Portfolio: The Heads of the Kings of England, Proper for Mr. Rapin's History *Issued unsigned, though signed by Virtue in the plate (printed signature) lower right Year: 1736 Medium: Original Engraving on laid paper Limited edition: Unknown Printer: Unknown, London? UK Publisher: James, John, and Paul Knapton, London, UK Reference: Brunet No. IV.1115; Bryan V. No. 294 Framing: Not framed, but matted with 100% cotton rag matting from Holland and filet from Italy Matted size: 19.75" x 15.75" Image size: 11" x 7" Condition: A few minor foxmarks. In excellent condition Notes: Comes from Virtue's 1736 "The Heads of the Kings of England, Proper for Mr. Rapin's History" portfolio of approximately 63 engravings. Engraving of Henry VII, King of England. Half length with long hair, cap with jewelled brooch, jewelled collar, and robes edged in ermine, holding orb in left hand and sceptre in right. Within a rectangular frame with crown, orb, and sceptre above and with coat of arms, putti, and a portrait of Elizabeth of York below. With English inscription below. Henry VII (1457-1509) was the King of England and Lord of Ireland from his seizure of the crown on 22 August 1485 to his death. He was the first monarch of the House of Tudor. Henry attained the throne when his forces defeated King Richard III at the Battle of Bosworth Field, the culmination of the Wars of the Roses. Biography: George Vertue...
Category

1730s Baroque Art

Materials

Intaglio, Laid Paper, Engraving

17th century etching baroque portrait male subject hat realistic print signed
Located in Milwaukee, WI
This is an excellent example of the kind of portraiture produced by Castiglione during the early part of the 17th century. In the image, we see the visage of a man with a mustache, wearing a fur-lined hat topped with a feathery decoration. The image is reminiscent of the work of Rembrandt van Rijn, himself known for his portraits in the form of etchings. 4 x 3.5 inches, image 15.25 x 13.25 inches, frame Inscribed "GC" in the plate, lower left This impression is from the edition ca. 1825 from the original plate of ca. 1635. Unlike many Italian artists, Giovanni Benedetto Castiglione was profoundly influenced by foreigners. He first studied with local artists in his native Genoa, absorbing not only Tuscan Mannerism and Caravaggism but also the style of Peter Paul Rubens, who had worked in Genoa. From 1621 Castiglione also worked in Anthony van Dyck's Genoa studio. Early on, he was attracted to Flemish animal...
Category

17th Century Baroque Art

Materials

Etching

Old Master Painting, Flemish Baroque, Religious Scene, Esau and Jacob, Lentil
By Erasmus Quellinus the Younger
Located in Greven, DE
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,...
Category

17th Century Baroque Art

Materials

Oil, Panel

Old Master Painting, Flemish Baroque Grisaille, Cornelis Schut, Mary with Child
Located in Greven, DE
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...
Category

17th Century Baroque Art

Materials

Oil

Nevada
By Shan Merry
Located in San Francisco, CA
This artwork titled "Nevada" is an original lithograph by noted French artist Shan Merry, born 1935. It is hand signed and numbered 97/450 in pencil by the artist. The image size is 15.5 x 14 inches, framed is 32.25 x 29 inches. It is beautifully framed in a custom gold frame, with fabric matting and gold color bevel. it is in excellent condition. Shan-Merry began her artistic studies in 1957 at the Ecole Nationale Superieure des Arts et Metier, in France. By 1972 she was working as a professional fine artist and began exhibiting regularly in prominent art galleries. By the 1990’s her works were included in prestigious international collections and exhibitions in Belgium, Germany, Japan and the United States. She was also a designer for Hermes...
Category

Late 20th Century Baroque Art

Materials

Lithograph

Hunting Scene - Original Etching by Antonio Tempesta - Early 17th Century
Located in Roma, IT
Image dimensions: 20.4 x 27.5 cm. Hunting Scene is a wonderful black and white etching on thick laid paper, realized by the Italian master, Antonio Tempesta (1555-1630). Monogramm ...
Category

Early 17th Century Baroque Art

Materials

Etching

17th century engraving black and white landscape ancient building scene
Located in Milwaukee, WI
In the mid-seventeenth century, views of historic landscapes and classical structures were increasingly popular among print collectors, and artists like the Frenchman Israel Sylvestre were eager to fill that demand. In this example, Sylvestre captures a view of the Arch of Constantine...
Category

Mid-17th Century Baroque Art

Materials

Engraving

Two Angels - Ink and Watercolor Drawing by A. Brustolon - Early 1700
By Andrea Brustolon
Located in Roma, IT
Due Angeli is an original artwork realized by Andrea Brustolon. Mixed media, ink and watercolor. The artwork rapresents two baroque angels, study realized by Brostolon for a sculpt...
Category

Early 18th Century Baroque Art

Materials

Ink, Watercolor

Alvorada V
Located in Pampilhosa da Serra, PT
Lisbon-based, Miguel Rodrigues is renowed by having developed a highly innovative and personal artistic style: the hyperbaroque. His hyperbaroque sculptures summon the baroque’s conj...
Category

2010s Baroque Art

Materials

Metal

Saint Gerome Ecrivant (B103), Heliogravure by Rembrandt van Rijn
Located in Long Island City, NY
Rembrandt van Rijn, After by Amand Durand, Dutch (1606 - 1669) - Saint Gerome Ecrivant (B103). Year: 1878 (of original 1648), Medium: Heliogravure, Size: 7 x 5.25 in. (17.78 x 13....
Category

Late 19th Century Baroque Art

Materials

Etching

Warrior Figures Conversating in Capriccio Landscape 17-18 Century Oil Painting
Located in Stockholm, SE
In the foreground, we see two conquistadors and three natives accompanying them landing on the shore, presumably on a reconnaissance mission in an unfamiliar bay. Perhaps they are in...
Category

1690s Baroque Art

Materials

Canvas, Wood, Oil

Reveil
Located in Pampilhosa da Serra, PT
"Hyperbaroque Impressions: A Collection of Art Prints by Miguel Rodrigues" Step into the surreal world of Miguel Rodrigues, where the boundaries between reality and fantasy blur int...
Category

2010s Baroque Art

Materials

Paper, Photographic Paper

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

2010s Baroque Art

Materials

Oil, Canvas

17th-Century Dutch Pastoral Scene Figures Cattle Goats in a Bucolic Landscape
Located in Cirencester, Gloucestershire
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...
Category

17th Century Baroque Art

Materials

Oil

Antique 18th Century Flemish Netherlandish Religious Baroque Gilt Wood Triptych
Located in Portland, OR
Antique late 18th Century Baroque, Netherlandish/Flemish Gilt Wood Triptych Painting, egg tempera on panel, circa 1780, "Saint Tobias and The Angel". The gilt wood case with iron strap hinges and gilded decoration, the central panel painted with an allegory of Saint Tobias. The triptych evidently influenced by the Italian Renaissance work of Verrocchio's altar painting...
Category

Late 18th Century Baroque Art

Materials

Egg Tempera

17th Century Dutch Baroque Old Master Oil Painting Christ Healing the Sick
Located in Cirencester, Gloucestershire
Christ Healing the Sick Dutch, late 17th century circle of Gerard Hoet (1648-1733) oil on canvas, framed Framed: 19.5 x 22.5 inches Canvas: 13 x 16 inches Provenance: private collect...
Category

Late 17th Century Baroque Art

Materials

Oil, Canvas

Baroque art for sale on 1stDibs.

Find a wide variety of authentic Baroque art available for sale on 1stDibs. Works in this style were very popular during the 21st Century and Contemporary, but contemporary artists have continued to produce works inspired by this movement. If you’re looking to add art created in this style to introduce contrast in an otherwise neutral space in your home, the works available on 1stDibs include elements of blue, orange, purple and other colors. Many Pop art paintings were created by popular artists on 1stDibs, including Suzi Fadel Nassif, Kind of Cyan, Agent X, and Melanie Sherman. Frequently made by artists working with Paint, and Oil Paint and other materials, all of these pieces for sale are unique and have attracted attention over the years. Not every interior allows for large Baroque art, so small editions measuring 2.38 inches across are also available. Prices for art made by famous or emerging artists can differ depending on medium, time period and other attributes. On 1stDibs, the price for these items starts at $77 and tops out at $345,000, while the average work sells for $5,900.

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