Baroque Art

"Onlyfans" Painting (FRAMED) 30" x 25" inch by Isaac Pelayo Medium: Oil, oil stick, and aerosol on wood Comes in antique frame (wood & gold leaf) Size framed: 43" x 37.5" inch The...

"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...

Circle of Ruisdael, Riders in a Landscape passing by a well

Flowers in A Basket by Jean-Baptiste Monnoyer. A Still Life of flowers in a basket including jasmine, honeysuckle, dahlias, parrot tulips, delphiniums and white carnations.

"Warhola" (FRAMED) Figurative Portrait Painting 24" x 18" inch by Isaac Pelayo Medium: Oil, oil stick, and aerosol on wood "The Modern Renaissance" series Historically, the art wo...

"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...

"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...

In Fidel Santos' photograph, Pedro de San José Betancur, the artist looks towards a representation of a worn but otherwise stoic figure. The composition focuses exclusively on the sa...

This photograph by Fidel Santos depicts an 18th-century etching on parchment paper, meticulously depicting a curtain with beautifully rendered folds and shadows that seem to breathe ...

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...

Agent X Beauté du XVIIIe Siècle 4 Archival Pigment Inks on 310 gsm hahnemühle paper Year: 2022 Size: 38x32in Edition: 50 Signed, dated and numbered by ha...

Agent X Beauté du XVIIIe Siècle 3 Archival Pigment Inks on 310 gsm hahnemühle paper Year: 2022 Size: 34x26in Edition: 50 Signed, dated and numbered by ha...

Agent X Beauté du XVIIIe Siècle 1 Archival Pigment Inks on Canvas Year: 2022 Size: 74x58in Unique Signed, dated by hand COA provided Ref.: 924802-1160 ------------------------------...

Agent X Beauté du XVIIIe Siècle 2 Archival Pigment Inks on Canvas Year: 2022 Size: 74x58in Unique Signed, dated by hand COA provided Ref.: 924802-1162 -...

"Sunday Service Mood Swing" Oil Painting (FRAMED) 40" x 30" inch by Isaac Pelayo Medium: Oil, oil stick, and aerosol on wood Comes in antique frame (woo...

In the photograph by artist Fidel Santos, an ancient marble bust of Ares, the Greek god of war, reveals a strikingly serene expression that contras...

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...

"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 ...

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: Recently framed in a gold ornate moulding with 100% cotton rag matting Framed size: 23.63" x 19.69" 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...

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: Recently framed in a gold ornate moulding with 100% cotton rag matting, and filet from Italy Framed size: 22.69" x 18.63" Image size: 11" x 7" Condition: Light toning and a few minor foxmarks to sheet. In very good 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...

"Pelaggio" Figurative Portrait Painting (FRAMED) 40" x 30" inch by Isaac Pelayo Full name: I’m Better off on My Own Any Fuckin Way - Pelaggio Medium: Oil, oil stick, and aerosol on ...

"Rembrandt El Chingon" Painting (FRAMED) 23" x 17" inch by Isaac Pelayo Medium: Oil, oil stick, and aerosol on wood Comes in antique frame (wood & gold leaf) Size framed: 29.5" x 23.5" inch ABOUT THE ARTIST: Isaac Pelayo is a head on crash collision between The Renaissance and Street Art. In a household where constant turmoil and violence were more apparent than most a young Pelayo met escape and peace within the confines of himself and his own creativity. Hispanic born in the heavy beating heart of Los Angeles on the seventh day of June 1996. Pelayo was caught in the crossfires of everything that surrounded him but art served as his only guidance. After dropping out of college Pelayo turned from his hyperrealistic pencil portraits to oil painting where his passions grew more immensely. As of today Pelayo’s work is most influenced and fueled by the crème de la crème of old master painters like Da Vinci, Caravaggio, Rembrandt, and Velazquez as well as graffiti artists such as RETNA, Shepard Fairey, and EL MAC. In 2017 his work caught the attention and landed in the firm grasp of renown rapper and collector Alvin “Westside Gunn” Worthy. He has created several album covers and artworks for the Buffalo rap moguls music label Griselda Records including his personal collection. Pelayo’s paintings are widely recognized and sought out from all over the globe. His collectors include Sean “Diddy” Combs, Westside Gunn, Benny The Butcher, Jeff Hamilton, Shepard Fairey, Jaysse Lopez, and Everlast of House of Pain...

Pieta, 2019 Oil on Panel with Dutch Ripple Frame, 9 x 12 inches A whispering portrayal of spiritual sorrow, Justas Varpucanskis’s “Pieta” present...

Claude Lorrain landscape with the temptation of Saint Anthony .Richard Earlom aquatint c1817 by Lorrain, Claude le/Earlom, Richard Country...

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...

Jean-Emile Laboureur (1877-1943), Le Moulin Abandonne, etching and engraving, 1934, signed lower left and numbered and annotated “imp” in pencil lower right....

This photograph presents the haunting beauty of a Baroque polychrome wooden saint’s head, its gaze lifted upward in serene contemplation. The figure’s golden-blonde hair and the deli...

"Untitled 2" Sculpture 24" x 11" x 7" inch Edition 1/1 by Isaac Pelayo Unique work. Signed by the Artist. Comes with COA. Hand embellished plaster/fiberglass sculpture ABOUT THE AR...

"Straight from the Trenches" Oil Painting (FRAMED) by Isaac Pelayo Medium: Oil, oil stick, and aerosol on wood Comes in antique frame (wood & gold leaf) Size framed: 55.5" x 43.5" ...

"AN EYE FOR AN EYE" Figurative Painting 40" x 30" inch by Isaac Pelayo Medium: OIl and aerosol on wood "The Modern Renaissance" series Historically, the art world has been an exclu...

St. Joseph with Child in Terracotta beautiful example of Bolognese plastic from the 1700s, circle of Angelo Gabriello Piò (Bologna 1690 - 1770). Modeled as a full-length figure, th...

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...

"AUF WIEDERSEHEN" Figurative Portrait Painting 24" x 18" inch by Isaac Pelayo Medium: Oil, oil stick, and aerosol on wood ABOUT THE ARTIST: Isaac Pelayo is a head on crash collision between The Renaissance and Street Art. In a household where constant turmoil and violence were more apparent than most a young Pelayo met escape and peace within the confines of himself and his own creativity. Hispanic born in the heavy beating heart of Los Angeles on the seventh day of June 1996. Pelayo was caught in the crossfires of everything that surrounded him but art served as his only guidance. After dropping out of college Pelayo turned from his hyperrealistic pencil portraits to oil painting where his passions grew more immensely. As of today Pelayo’s work is most influenced and fueled by the crème de la crème of old master painters like Da Vinci, Caravaggio, Rembrandt, and Velazquez as well as graffiti artists such as RETNA, Shepard Fairey, and EL MAC. In 2017 his work caught the attention and landed in the firm grasp of renown rapper and collector Alvin “Westside Gunn” Worthy. He has created several album covers and artworks for the Buffalo rap moguls music label Griselda Records including his personal collection. Pelayo’s paintings are widely recognized and sought out from all over the globe. His collectors include Sean “Diddy” Combs, Westside Gunn, Benny The Butcher, Jeff Hamilton, Shepard Fairey, Jaysse Lopez, and Everlast of House of Pain...

"Two to Tango but One to..." Painting (FRAMED) 29" x 23.5" inch by Isaac Pelayo Full name: Two to Tango but One to Fuck You Up Medium: Oil, oil stick, and aerosol on wood Comes in ...

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...

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...

"Pasadao y Presente" Oil Painting (FRAMED) 21" x 27" inch by Isaac Pelayo Medium: Oil, oil stick, and aerosol on wood Comes in antique frame (wood & gold leaf) Size framed: 29.5" x 35.5" inch ABOUT THE ARTIST: Isaac Pelayo is a head on crash collision between The Renaissance and Street Art. In a household where constant turmoil and violence were more apparent than most a young Pelayo met escape and peace within the confines of himself and his own creativity. Hispanic born in the heavy beating heart of Los Angeles on the seventh day of June 1996. Pelayo was caught in the crossfires of everything that surrounded him but art served as his only guidance. After dropping out of college Pelayo turned from his hyperrealistic pencil portraits to oil painting where his passions grew more immensely. As of today Pelayo’s work is most influenced and fueled by the crème de la crème of old master painters like Da Vinci, Caravaggio, Rembrandt, and Velazquez as well as graffiti artists such as RETNA, Shepard Fairey, and EL MAC. In 2017 his work caught the attention and landed in the firm grasp of renown rapper and collector Alvin “Westside Gunn” Worthy. He has created several album covers and artworks for the Buffalo rap moguls music label Griselda Records including his personal collection. Pelayo’s paintings are widely recognized and sought out from all over the globe. His collectors include Sean “Diddy” Combs, Westside Gunn, Benny The Butcher, Jeff Hamilton, Shepard Fairey, Jaysse Lopez, and Everlast of House of Pain just to name a few. Pelayo is often described as the coming of A New Renaissance...

Italian School, 18th Century, Circle of Grassi, This old master drawing is drawn in the late-Baroque or Rococo style. It depicts a woman worshipping Venus/ preparing a sacrifice for ...

"Don't East that Shit Bitch" Painting (FRAMED) 36" x 24" inch by Isaac Pelayo Medium: Oil, oil stick, and aerosol on wood Comes in antique frame (wood & gold leaf) Size framed: 50"...

"HOMICIDE" Abstract Painting 24" x 18" inch by Isaac Pelayo Medium: Oil, oil stick, and aerosol on wood ABOUT THE ARTIST: Isaac Pelayo is a head on crash collision between The ...

In "The Big Bang," Fidel Santos unveils a celestial fresco hidden beneath layers of chipping paint. This mixed media masterpiece captures the most dramatic moment in the heavens, sym...

In Fidel Santos' photograph Serenity, the artist captures a worn yet tranquil figure, focusing intently on the saint's head and the rich texture of the aged wood. This composition ev...

"Hollywood Hills Love Story" Oil Painting (FRAMED) 40" x 30" in by Isaac Pelayo Medium: Oil, oil stick, and aerosol on wood Comes in antique frame (wood...

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...

Decorated with a cartouche on which the family coat of arms was probably engraved, this interesting small bronze object is a "cheer mortar" (also called a "mascolo" or "mastio" of ch...

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...

The photograph depicts a weathered, white wall with the remnants of an ornate plaster scrollwork design. Most of the wall is flaking and disintegrating, revealing the harsh effects o...

In this striking photograph by artist Fidel Santos, an old stained glass window features the ethereal image of Mary Magdalene surrounded by clouds. Despite the dust and cracked panes...

"PABLO" Portrait Oil Painting 48" x 36" inch by Isaac Pelayo Medium: oil and aeorosl on canvas ABOUT THE ARTIST: Isaac Pelayo is a head on crash collision between The Renaissance ...

The age-old technique of marbling paper, known as "carta marmorizzata" in Italian, involves floating pigments on a liquid surface and then transferring the design onto paper. Artist Francisco Bianchi captures the beauty and elegance of this art form in his playful large-scale images. Francisco Bianchi, an Italian-born artist, photographer, and printmaker, is a master in the realm of visual arts. Studying in the artistic heart of Italy, Florence, Bianchi embarked on a creative journey deeply rooted in the age-old traditions of Italian arts and crafts...

"THE FIGHT" Figurative Painting 60" x 40" inch by Isaac Pelayo Medium: oil and aerosol on canvas ABOUT THE ARTIST: Isaac Pelayo is a head on crash collision between The Renaissance and Street Art. In a household where constant turmoil and violence were more apparent than most a young Pelayo met escape and peace within the confines of himself and his own creativity. Hispanic born in the heavy beating heart of Los Angeles on the seventh day of June 1996. Pelayo was caught in the crossfires of everything that surrounded him but art served as his only guidance. After dropping out of college Pelayo turned from his hyperrealistic pencil portraits to oil painting where his passions grew more immensely. As of today Pelayo’s work is most influenced and fueled by the crème de la crème of old master painters like Da Vinci, Caravaggio, Rembrandt, and Velazquez as well as graffiti artists such as RETNA, Shepard Fairey, and EL MAC. In 2017 his work caught the attention and landed in the firm grasp of renown rapper and collector Alvin “Westside Gunn” Worthy. He has created several album covers and artworks for the Buffalo rap moguls music label Griselda Records including his personal collection. Pelayo’s paintings are widely recognized and sought out from all over the globe. His collectors include Sean “Diddy” Combs, Westside Gunn, Benny The Butcher, Jeff Hamilton, Shepard Fairey, Jaysse Lopez, and Everlast of House of Pain...

Maqueta las Toninas, 1944 BMY-022, 1970 Edition 1/25 Bronze 22 x 22 x 10 cm 8.6 x 8.6 x 3.9 in ABOUT THE ARTIST Narvaez was born in Porlamar, Venezuela, in 1905; he was the fifth son of eleven siblings; his parents were Jose Lorenzo Narvaez and Vicenta Rivera. Don José Lorenzo, a multifaceted and creative man, sowed the seed of creativity in his son. “My father did not fit in with his fantasies of cabinetmaker, bricklayer, master builder, and self-taught architect.”1 From an early age, Francis was led to the artistic activity, he traced, carved, made replicas of the furniture and the saints restored by his father. In 1920 he obtained his first professional assignment, a San Rafael for the Church of Carupano, and, in 1922, his father authorized him to travel to Caracas to pursue his studies as an artist. He studied at the atelier of Marcos Castillo, at of the Angel Cabre y Magriña and at the Academy of Fine Arts in Caracas, where he was introduced to the painters and intellectuals of the time. In 1928 he presented his first solo exhibition at the Club Venezuela. With the money raised from the sale of the works and the support of Monsignor Sosa, and the Ministers Centeno Grau and Arcaya, he studied in Paris on a scholarship. Once there, he enrolled at the Académie Julian, where Tito Salas, Cristóbal Rojas and Arturo Michelena had also studied. It was in Paris where, unable to work in wood, he turned to stone carving. “In Paris, I didn’t have wood, so I carved a lot in stone (…), when there were demolitions I purchased chunks of stone, I would take them to the workshop and carve them.”2 His first attempts at volumetric sculptures and painting in plain colours, linked to the thematic of American miscegenation and Creole reality, can be traced back to that first trip to Paris. During his stay in the French city, Arturo Uslar Pietri, Alfredo Boulton, and Finita Vallenilla supported the artist both financially and logistically, and in February of 1930, the trio of friends arranged another exhibition for him at the Club Venezuela. Narvaez describes his exhibition as follows: “(…) in it I feel that the sculptural work is more my own, done with more assurance, a response to my pursuit of large planes, stylisation and synthesis.”3 By then, as Boulton himself noted in his book about the artist, Narvaez departed from most of the artistic traditions that prevailed by that time in Venezuela. In 1931 he returned to Caracas and established his atelier at the Barrio Obrero in Catia. The atelier became the hub of the intellectual life of the time. “In those years, the atelier of Francisco Narvaez was the hub of the greatest Venezuelan hope. Nothing comparable to it can be found either before or since.”4 From that year onwards, exhibitions, projects, trips, and awards we multiplied. He was awarded the President of the Republic of Venezuela Prize, the National Sculpture Prize of the 1st Official Venezuelan Art Salon, and the John Boulton Prize of the 3rd Annual Venezuelan Art Salon; for the Military Academy, he produced a spectacular relief entitled La Patria. In 1945, commissioned by the architect Carlos Raúl Villanueva, he produced two groups of sculptures known as Las Toninas, both located in the O’Leary Square. There, as he himself states, he incorporates some baroque patterns into the figures to the source itself: “It is a work of balance between the decorative requirements and the sculpture of planes and angles.”5 In 1948 he was awarded the National Painting Prize. In the same year, he was called upon by the architect Carlos Raul Villanueva to participate in the project for the arts integration in the Universidad Central de Venezuela. Francisco Narvaez’s public output continued with works such as the statue of Fermín Toro, La Educacion, La Ciencia, three murals (produced by María Luisa Tovar) for the Instituto de Medicina Experimental, El Cristo; el Atleta, the equestrian statue of General Rafael Urdaneta. In 1953 he was appointed Director of the School of Plastic and Applied Arts, and in July of the same year, he exhibited “Francisco Narvaez, Maderas, Piedras y Bronces” (Francisco Narvaez, Woods, Stones and Bronzes) at the Museum of Fine Arts. Narvaez is, unquestionably, one of the great Venezuelan sculptors, his work goes through various stages and interests; as the art world evolves, the artist does not remain in his initial scopes of work. His creations are not imposed by the prevailing trends or fashion but do evolve by experimenting with new materials and interests. When one peruses the artist’s lengthy list of exhibitions, commissions, and awards, it is worth remembering the Narvaez who embark on his career as a child and who, overcoming obstacles, knew how to make the most of his curiosity. He did not settle for living off his successes. He did not remain stagnant as many creators of his environment did. Narvaez managed to understand the changes in the history of art around him. We must not overlook the fact that Francisco Narvaez is an artist amid all the changes occurring in the art world. He moves from the classics to the great transformations in the art world. It is the Europe of Picasso, Braque, Arp. He observes, he is aware of what is happening in the centres of the world of art, but between his craft and his sensitivity, the result is NARVAEZ, his stamp, and his identity. Francisco Narvaez comes from tradition, and his first stage is linked to the classics, to the exploration of his heritage, but always with his very own language. Throughout his prolific career, he knew how to remain true to himself, without disregarding the influences of his surroundings or his artistic interests: his ability as a sculptor, his selection of materials, whether they were wood, stone or bronze; his choice of the subject of his work…His mastery and great craftsmanship are a constant that over time have made him a leading player in the history of contemporary Venezuelan and world art. From his beginnings, no subject was foreign to him. His paintings, drawings, aquarelles, and sketches are testimony to his prolific output. Among his themes are portraits, our traditions, still lifes, and landscapes. Narvaez is an artist who represents his time. Later, he evolved towards purer and simpler forms, abandoning figurative art for short periods. In 1956 he declared to the newspaper El Nacional: “Every day I am freeing myself, it is a soul that frees itself from the ephemeral wrappings of the circumstantial always, as well as from the inevitable weight of the anecdote. This second stage of my work is remarkably close to abstractionism, even if there are still certain figures or figurations in the sculptures that I will shortly be showing. However, pure, and absolute abstractionism, it will treat the form itself as the sole reason for its existence on the plane of artistic excellence.”6 The artistic development was his professional life. Each period of his life as an artist, he went one step further, searching, solving, seeing plenty of things and understanding how diverse expressions were transforming themselves. His hands followed his gaze and his mind, always inquisitive. He added movement to the volumes. Arturo Uslar Pietri, “Formas Nuevas”, Cromotip editions, 1956 “Francisco Narvaez is a path: the path that Venezuelan sculpture...

In Fidel Santos' photograph, Saint Martin I, the artist looks towards a representation of a worn but otherwise stoic figure. The composition focuses exclusively on the saint's head a...

In this striking image, from Fidel Santos' Curtain Series, a dramatic and deeply aged carved curtain with elaborate folds, drapery, and detailed tassels is highlighted against a sta...

"Bill Collect" Oil Painting (FRAMED) 48" x 36" inch by Isaac Pelayo Full name: Fuck the Bill Collector, My Rent is Due Medium: Oil, oil stick, and aerosol on wood Comes in antique...

Questa ceramica dipinta, 33 x 24 cm senza la cornice, è ispirata dal "Riposo durante la fuga in Egitto" di Simone Cantarini detto il Pesarese, realizzato negli anni trenta del XVII s...

The age-old technique of marbling paper, known as "carta marmorizzata" in Italian, involves floating pigments on a liquid surface and then transferring the design onto paper. Artist ...

"Top 1% on OnlyFans"" Oil Painting (FRAMED) 26.5" x 19" inch by Isaac Pelayo Medium: Oil, oil stick, and aerosol on wood Comes in antique frame (wood & gold leaf) Size framed: 34" ...