Original Oil on Wood Panel of St. Anthony of Padua

Original oil on panel of Saint offering the Child, by an unidentified artist. --This painting represents St. Anthony of Padua. The scene is one that is often chosen to represent ...

18th century sanctuary oil on panel The Roman Sanctuary of the Felix father in Jativa, Valence, Spain.

18th century sanctuary oil on panel The Roman Sanctuary of the Felix father in Jativa, Valence, Spain.

1870 original religious painting. Cherubs Signed by S.Barber Interior measurements: 48.42in x 39.76in Frame: 2.75 in.

20th Century Oil Painting of Madonna and Child by Arnedo Linares, Spain (1925-2011) This oil depicting the "Desamparados Verge" patron saint of Valencia...

Manuel Fernandez Luque. He was a painter of variegated compositions, parading, typical of Spanish folklore figures. His work has a literary expressionism burden becomes a tableau of ...

Temptations of San Antonio Abad. Oil on canvas. 17th century, following the model of David Teniers II (Antwerp, 1610-Brussels, 1690). Oil on canvas showing a figurative scene located inside a cave. To the right, you can see a cross standing, supported; to the left, a hut; and in the center of the painting appears an elderly, bearded man, leaning on a table on which there is a ceramic jug and a skull, with an open book at the foot of it. The man looks towards a woman, who points to something outside, and appears accompanied by a large frog and a series of ghostly beings or monsters dressed in brightly colored cloth and clothing. San Antonio Abad or Antonio Magno (251-356) was a Christian monk, considered the founder of the eremitical movement. He was tempted numerous times by the devil while he was in the desert, becoming a subject frequently represented in art (as can be seen in this oil painting). He is represented in a black habit because the Order of the Knights of the Hospital of San Antonio (Hospitals) was placed under his patronage, being the color of the habits of the members of this order (the tau or Egyptian cross was also the symbol chosen by they). David Teniers II or El Joven was a prominent Flemish painter and engraver, son of David Teniers El Viejo or I and father of David Teniers III, much appreciated at the time for his scenes of villagers and common people, his paintings of monkey painters, etc. . He dealt with the theme of the Temptations of Saint Anthony...

19th Century Black Forest Wall Shrine with Porcelain St. Anthony of Padua & Jesus will make a splendid devotional for any room, and features sculpted wood combining the Renaissance and Classical styles in a lovely oval form upon which has been placed burgundy velvet, making the painted porcelain figurine of St. Anthony cradling the infant Jesus...

An early 19th century coach panel, larger than the norm, oil on board of an armorial centred by a typical shield, drapes and a warriors arm holding a s...

Antique portrait painting of Pope Paul VI on wood. This beautiful piece depicts a small portrait of Pope Paul VI. This painting is one wood and unframed. Pop...

Splendid 17th-century Italian painting by unknown artist, but certainly a follower of Caravaggio, relying on style and drawing. The painting has a very beautiful gilded wooden frame, with a subtle greek with spheres and an overlying rectangular frame with sinuous flowers on each corner, very elegant and beautiful. The painting depicts one of the most depicted religious scenes ever, the scourging of Christ, and is entirely done in oil on copper. The scourging of Jesus is an episode narrated in the Gospels (Mk15:15-16; Mt27:26-27; Lk23:16-26; Jn19:1-17[1]). Scourging is a flogging, particularly bloody, by means of sticks, rods or cat-o-nine-tails, the latter instrument consisting, in the Roman typology, of a short stick to which were secured several strings ending in metal claws, leads and bone splinters that caused tremendous lacerations and fractures to the tortured person. Chains are used in this scene, both to immobilize Jesus Christ and to flog him, as we can see in the upper right hand of the scourger. According to some personal research, it turned out that the actual scourging of Christ was mostly depicted at the column, while this Christ is on the ground, so presumably Christ here is scourged during the Way of the Cross at one of those stages where he fell. The painting has a very dark coloring, which is why this painting is believed to faithfully follow Caravaggio's style of dry, authoritarian brushstrokes. The painting shows a figure agonizing on the ground that continues to receive beatings and floggings of all kinds, representing Christ; his face is crucified in a loquacious expression of pain, he turns his eyes to heaven as if to invoke God, but at the same time those same eyes admonish the wickedness and arrogance inherent in humanity. Christ has one hand resting on the ground in the act of holding himself, while the other takes a completely unnatural stance against the barren ground. His body appears hardened to wanting to parry the blows, his legs are curled up on his knees as he takes kicks from the soldier above him. Christ is depicted pinned down from the neck with a very large and strong black iron bolt held by the other soldier. The soldier on the right in the foreground wears a one-shoulder tunic with an orange tunic and blue pants. On his feet he wears gray shoes, at his waist he has a belt with an iron helmet...

Exceptional size antique 19th century oil on canvas painting of The Assumption in original carved gold-leaf frame.