Wall Decorations

A beautifully executed and rare complementary pair of oil on canvas paintings depicting two of the moist famous and important counter reformation catholic saints St Francis Xavier and St Carlo Borromeo shown in scenes of what the respective saints are mostly famous for. St Francis Xavier for the conversion to Christianity of many S. E Asian countries notably India and St Carlo Borromeo shown asking the Virgin Mary to intercede for the cessation of the terrible plague of 1576. The paintings are presented in refreshed gilded carved wooden frames and are unsigned. St. Francis Xavier was born in Spanish Navarre in 1506 and in 1528, he met St. Ignatius of Loyola. He became one of the seven in 1534 who founded the Society of Jesus (Jesuit Order). In 1536, he left the University of Paris and joined St. Ignatius in Venice. He was ordained in 1537, and in 1540 after the Society was recognized by the Pope, he journeyed to the Far East. Francis Xavier first evangelized the Portuguese colony of Goa in India, then Travancore, Ceylon, Malacca, and the surrounding islands. From there he journeyed to Japan, where he gave Christianity such deep roots that it survived centuries of violent persecution. He died on Sancian Island in 1552, while he was seeking to penetrate into the great forbidden land of China. Despite language problems, lack of funds, resistance from the Europeans as well as the natives, he persevered. St. Francis converted more people in his life than anyone since the Apostle St. Paul. He baptized over 3 million people, converted the entire town of Goa in India, and he labored in India, Pakistan, Bangladesh, Sri Lanka, Malaysia, Indonesia, Singapore, and Japan. He was truly a missionary par excellence. St Carlo Borromeo (1538-1584), was a Cardinal of the Holy Roman Catholic Church and Archbishop of Milan from 1565 to 1583. He was described in the decree for his canonization, as “a man, even while the world smiles on him with the utmost flattery, he lives crucified to the world, spiritually, trampling earthly things, seeking continuously the things of heaven, emulating the life of the Angels on earth, in his thoughts and actions. The plague began in the month of August that year. Milan was celebrating joyfully the arrival of Don John of Austria, on his way to Flanders, where he had been appointed governor. The city authorities were abuzz with excitement in their desire to bestow the highest honours on the Spanish prince, but Charles, who had been Archbishop of the diocese for six years, was following with concern the news coming from Trento, Verona and Mantua, where the plague had begun claiming victims. The first cases exploded in Milan on August 11th, right at the moment when Don John of Austria arrived. The victor of Lepanto, followed by the governor, Antonio de Guzmán y Zuñiga, departed the city, while Carlo Borromeo, who was in Lodi for the Bishop’s funeral, returned in haste. Confusion and fear reigned in Milan and the Archbishop dedicated himself completely to assisting the sick and ordering public and private prayers. Dom Prosper Guéranger sums up his infinite charity in this way: “In the absence of local authorities, he organized the health service, founded or renewed hospitals, sought money and provisions, decreed preventive measures. Most importantly though, he took steps to ensure spiritual help, assistance to the sick and the burial of the dead. Unafraid of being infected, he paid in person, by visiting hospitals, leading penitential processions, being everything to everyone, like a father and true shepherd” St. Carlo was convinced that the epidemic was “a scourge sent by Heaven” as chastisement for the sins of the people and that recourse to spiritual measures was necessary to fight against it: prayer and penitence. He rebuked the civil authorities for having placed their trust in human measures rather than divine ones. “Hadn’t they prohibited all the pious gatherings and processions during the time of the Jubilee? For him, and he was convinced of it, these were the causes of the chastisement. The magistrates who governed the city continued to oppose public ceremonies, out of fear that the large gathering of people would spread contagion, but Charles “who was guided by the Divine Spirit” – recounts another biographer – convinced them by citing various examples, among which was the one regarding St. Gregory the Great who had halted the plague devastating Rome in 590. While the pestilence spread, the Archbishop then ordered three general processions to take place in Milan on the 3rd, 5th and 6th of October, “to placate the wrath of God”. On the first day, the Saint, despite it not being the Lenten season, placed ashes on the heads of the thousands gathered, exhorting them to penitence. Once the ceremony was over, the procession went to the Basilica of St. Ambrose. Charles put himself at the head of the people, dressed in a hooded purple robe, barefoot, penitential cord at his neck and large cross in his hand. The second procession led by the Cardinal headed towards the Basilica of San Lorenzo. The third day the procession from the Duomo headed for the Basilica of Santa Maria at San Celso. St. Carlo carried in his hands a relique of Our Lord’s Holy Nail, which had been given by the Emperor Theodosius to St. Ambrose in the 5th century. The plague didn’t show any signs of waning and Milan appeared depopulated, as a third of its citizens had lost their lives and the others were in quarantine or didn’t dare leave their homes. The Archbishop ordered about twenty stone columns with a cross at the top to be erected in the main squares and city crossroads, allowing the inhabitants from every quarter to take part in the Masses and public prayers - from the windows of their homes. One of Milan’s protectors was St. Sebastian, the martyr the Romans had recourse to during the plague in 672. St. Charles suggested that the magistrates of Milan reconstruct the sanctuary dedicated to him, which was falling into ruins, and to celebrate a solemn feast in his honour for ten years. Finally in July 1577, the plague ceased and in September the founding stone was laid in the civic temple of St. Sebastian, where on January 20th every year, even today a Mass is offered to recall the end of the scourge. St.Carlo Borromeo died on November 3rd 1584 and was buried in the Duomo of Milan. His heart was solemnly translated to Rome, in the Basilica of Saints Ambrose...

Italian Salvator Rosa last 17th century giltwood frame. Internal measurements cm 20 x 30 Pure example of Italian Salvator Rosa gild wood frame of 17th century. "Salvator Rosa" is th...

This is the Good Shepherd With Lamb Painting. It depicts an oil painting in canvas of the Christ Child seated in a large rock holding with his right hand the shepherd stick and the l...

You will not be disappointed in this wonderfully hand painted piece by the world reknown William Morley. Retaining its original Gilded Age frame and in very nice condition. A waterco...

Lot and his daughters, EMILIAN SCHOOL XVIIIth century Oil on canvas 175 x 126 cm Lot and his daughters is one of the themes most frequently encountered by seventeenth-century pain...

Roman school of the 17th century Jesus among the Doctors 103X71 cm good conditions Jesus among the doctors is a fresco (200x185 cm) by Giotto, dating back to around 1303-1305 and pa...

A set of three mid 18th century baroque style polychrome cherubs, each with hooks to the reverse. Ready for hanging on an interior wall as desired. Over 270 years old, these quaint ...

This signed 18th Century painting showcases a beautiful scene of a loving man and woman and their loyal canine companion gathered around a charming fountain, executed in the Baroque ...

BRITISH SCHOOL "Landscape with Figures" 19th Century Oil on canvas, Recovered. Dim.: 79 x 32 cm good conditions

Flemish School of the 17th century "Portrait of a Child" Oil on canvas label on the back with coat of arms 77.5 x 63 cm without frame 85.5 x 71 cm with frame good condition

A striking and competently carved pair of antique neoclassical carved cherubs. Crafted in oak, these neoclassical sculptures depict detailed handcarved faces of cherubs or putto sup...

An Italian pair of Baroque style silver plated, two-light wall sconces from the 19th century. These antique wall lights from Italy each feature sha...

Monumental early 18th-century Italian fresco depicting Dominican Friars by Francesco Malcotto, who made this painting for Milan, for the Renaissance basilica Santa Maria delle Grazie...

oil on canvas German 17th school follower of Johann Hulsman "Gallant Scene" written "Bonhams" in chalk on the stretcher Condition: Presents well, vibrant colours relined probably in...

OIL ON CANVAS OF 17th Century LANDSCAPE OF WINTER OF THE NETHERLANDS. Good CONDITION. MEASURES WITH FRAME: 114X90 CM WITHOUT FRAME: 96X74 CM      

This very fine drawing from the early Baroque period is in Sanguine on laid paper. this Italian drawing in a rich brown-red is framed in a fine old gilded frame...

A large antique 19th century Belle Époque style KPM hand painted plaque of a young German woman wearing a bay laurel wreath, impressed KPM and scepter...

This unusual Baroque figure of Christ carved circa 1670 and 1700 is in a form associated with his removal from the cross after crucifixion but before his...

Belgium / 1900 / painting / canvas, wood / Antique / Baroque / Rococo A large Baroque painting with gilded wooden frame, Belgium ca. 1900. Signed in the left corner. This stunnin...

ITALIAN SCHOOL "Landscape" signed CORNICELLI1 9th Century Oil on canvas. Signed. Dim.: 39 x 49 cm good state

Italian ebonized frame, tortoiseshell and engraved bone, 19th century. Measures: 52 x 41cm 39.5 x 29.5cm Very good conditions.

Francesco Lavagna (Italy, Naples 1684-1724) Pair of paintings depicting Still Life composition of flowers and watermelon and garden in the background The paintings, beautifully mad...

A grand view of an Italian lake, tower with the lake Garda (other name Benaco) and boats in the background. An Italian School from XVIII Century. Frame with glass. Frame: 28 x 31 c...

Title: Moses on the Stone Date/period: XVII century Dimension: measure without frame 60cm x 83cm, frame 13cm in noble wood Materials: oil on wood Additional information: Dutch School...

A late 18th century French painting depicting a romantic couple in a pastoral setting. Oil on canvas. Unsigned. Original gilded wood frame. Small repair to canvas in the upper left c...

A fine large pair of 19th century French bronze relief plaques signed F. Barbedienne. Custom framed and matted.

Venetian School "Hagar and Ishmael pursued by Abraham" 18th century, canvas, 18th century Italian frame (gilt) 60 x 44.5 CM unframed 70cm x 54.5cm with frame good condition

Large sculptures, 18th century baroque balcony (balustrade) The Baroque chancel that is the subject of this description represents a fine example of art and craftsmanship, dating ba...

Jan Abel WASSENBERGH (1689-1750) "The Continence of Scipio" Oil on canvas, signed below center 92 x 107 cm unframed 99cm x 114cm framed (small old restorations) Jan Abel Wassenbergh (18 January 1689, Groningen – ca. 20 July 1750, Groningen), was an 18th-century painter from the Dutch Republic. According to Jan van Gool...

Another XAWD original pattern. We created Real Ones to fill the tragic deficit in the wallpaper industry of damask patterns with iconic world peace leaders throwing up gang signs. Do...

La Mode Illustree, French fashion magazine published in the 1800s, print La Mode Illustrée, was a French fashion magazine, published between 1860 ...

A very fine late 17th century allegorical Flemish Brussels Baroque tapestry Period: Late 17th century Country: Brussels, Belgium Measures: Depth 0.75" Width 111" Height 10...

Jews in the desert collecting the Manna. Oil on canvas, XVII century. Oil on canvas arranged horizontally in which a figurative theme is shown with a mountainous landscape in the ba...

Master of the Neapolitan School of the 17th Century. Vision of Saint Francis Description The saint of the order, identified by his wounds, is depicted in a sleeping posture. Accord...

19th Century Dutch original watercolour or gouache of fishing boats on a stormy sea. By Hendrik Willem Mesdag (1831-1915). Ex-private collection in the Netherlands. Circa 1890. wi...

Reinier de la Haye (1640-1695) - PORTRAIT OF A LADY IN FRONT OF A PARK LANDSCAPE Signed R. de la Haye on the right on the architectural base. Seated figure of a noble lady, dressed i...

Very beautiful 19th century Italian altar back in red silk velvet, probably Venetian Very elegant altar back adorned with metal-gold braid and metal...

Important Pair of Italian School Paintings "Night and Day" 19th Century Inspired by the excavations of Pompeya Two oils on the carton. 35cm x 24cm A year ago it was clean underneath

Pier Francesco Cittadini (Milan, 1616-Bologna, 1681) "Jacob and his family go to Egypt" Oil on canvas, cm 109 x 190 (canvas only) The valuable painting, made in oil on canvas, depicts Jacob and his family go to Egypt and we believe it can be, given the high quality painting, autograph work of Italian Pier Francesco Cittadini (Italy Milan, 1616 - Bologna, 1681) made after 1647. The work, in excellent condition is accompanied by a coeval frame in wood finely carved and golden. The scene depicted, which was confused with the Flight to Egypt in the past years, is instead identified with the biblical episode of Jacob’s journey. In the foreground, reading the painting from left to right, we see a caravan composed of animals, including donkeys, dromedaries, goats, dogs and horses and people, women, men and slaves, who carry on their journey along the banks of a river, following a path that to the right, would seem to lead to the through of a bridge. In addition to the watercourse is described an environment characterized by large rocks and impervious come far to cover the entire verticality of the canvas. On the left, in the distance, we see the tail of the caravan that runs along the steep path. Large trees enliven and harmonize the environment, as well as white and grey clouds characterize the predominantly clear sky and illuminated on the right by sunlight. The story is told in the Bible, Book of Genesis, 30, 25, passage in which is described the flight of Jacob from Haran after the contrasts with Laban, father of his wife Rachel. Jacob is the third great patriarch of the Bible. From his descendants originate the twelve generations of the people of Israel. He is the son of Isaac and Rebekah, who led him to flee from the wrath of Esau to Haran to seek refuge from his brother, Laban. At his uncle’s house Jacob met his daughter Rachel. As soon as he saw his cousin, Jacob was taken. Jacob will stay seven years in the service of Laban to marry his beloved Rachel. But Laban, with a deception, will give him in marriage first Lia, the least beautiful eldest daughter, and only after another seven years the splendid Rachel. From his first wife he will have several children, while Rachel will give birth to the beloved son, Joseph, who will become viceroy of Egypt. After years of service, Jacob asked to be paid with every dark-coloured garment among the sheep and every spotted and dotted garment among the goats. Laban accepted and sent away from his sons all the leaders of that kind. So Jacob took fresh branches of poplar, almond and plane tree, and flayed them, and put them in the troughs. The optical suggestion induced the goats and the sheep to conceive and give birth to dark, striped and dotted garments. He also ensured that all the strongest and healthiest leaders of the flock of Laban would drink near the barked branches, thus assuring a genetic superiority to his part of the flock. His flocks grew numerous and strong and he became richer than his relative, arousing envy. It was clear that Laban would not respect him much longer. At the suggestion of the Lord, Jacob decided to return to Canaan. Trying to avoid any possible dispute, he left with his family while Laban was absent for shearing sheep. But when, three days later, his uncle returned home, he became angry, feeling offended because Jacob had gone secretly and had not allowed him to greet his daughters and grandchildren. In addition, his teraphim, statuettes, or idols, which depicted the family deities, had disappeared. After 7 days of pursuit, Laban and his men reached Jacob’s group on Mount Gilead, in the mountainous region west of the Euphrates River, where his uncle and grandson had a stormy conversation. The younger man was outraged at being accused of stealing idols and told Labano to rummage through his family’s tents at will. Neither of them could know or even imagine that it was Rachel who took the idols and hid them in the saddle of the camel. During the search, she sat down firmly on the saddle, apologizing for not being able to get up, «because I usually have what happens to women» (Gen 31:35). So the loot wasn’t discovered. The author of this work was inspired by the composition of an engraving by Stefano Della Bella (1610-1664) of circa 1647. The engraving by Stefano della Bella bears the title "Iacob sur ses vieux jours quitte sans fascherie pour voir son filz Ioseph, sa terre et sa patrie" and is signed on the bottom left "Stef. of the Beautiful In. et fe." while on the right it is declared "Cum privil. Regis", that is with license of the king. Stefano Della Bella (Italy - Florence, May 18, 1610-Florence, July 12, 1664) was born in a family of painters, sculptors and goldsmiths and was left early orphan of his father sculptor, he dedicated himself first to the art of goldsmith at the school of Giovanni Benedetto Castiglione and Gasparo Mola, then turning his attention to drawing and engraving. He soon began drawing figures and copying the etchings of Jacques Callot, which inspired his early works. Under the protection of the Medici, in particular of Don Lorenzo, cadet son of Grand Duke Ferdinand I, Della Bella has the opportunity to make study trips to Rome, where he stayed from 1633-1636; In Rome he met French engravers and publishers of prints such as Israël Henriet and François Langlois, who influenced his decision to move to Paris in 1639, four years after the death of Callot. In Paris he soon reached, thanks to the engravings commissioned by Cardinal Richelieu, the success also worldly; he frequented courtiers, theatre artists and writers, while refusing too oppressive honors. In 1646-1647 he continued his travels in the Netherlands to Amsterdam, Antwerp and Dordrecht. He returned to Florence in 1650 and resumed working under the protection of the Medici court, working for his patrons. In 1656 he became a member of the Academy of Apatists. The painting object of this study is reasonably attributable to Pier Francesco Cittadini, or Pierfrancesco Cittadini, called the Milanese or the Franceschino (Italy - Milan, 1616-Bologna, 1681) as some exemplary stylistic comparisons proposed to follow can prove. Pier Francesco Cittadini was an Italian baroque painter, mainly active in Bologna. His artistic training first took place with the painter Daniele Crespi...

A beautiful Italian grand Tour Style Pietra Dura mosaic on marble Plaque with gilt framing. Picture is a bird on branch with leaves and flowers.

"Wedding of Tethys and Peleus". Oil on canvas. School of Madrid, 17th century. Corte, Juan de la (Antwerp, circa 1585 - Madrid, 1662) circle. This work describes the weddings of the Nereid Thetis and the prince Peleo, parents of Achilles. It was celebrated on Mount Pelion, and all the deities came, although Eris, the goddess of discord, was not invited. In revenge, she threw a golden apple in which she said "for the most beautiful", that caused the dispute between Athena, Aphrodite and Hera that led to the Trial of Paris, to finally bring about the Trojan War. The banquet is depicted with a composition worked in depth, located in a rich interior of classical architecture illuminated by the light of Apollo, which is situated at the far end of the viewer. At the head of the table, in the foreground, appears Zeus, accompanied by the eagle and Hera, queen of the gods, to his left. In the lower right corner we see a group of satyrs serving the wine, accompanied by rich metal vessels worked with a detailed and descriptive brushstroke. The rest of the gods appear clearly differentiated, with Athena in the foreground to the right and, following an agile rhythm in zigzag, typically baroque, Aphrodite with Eros, Hermes and the grooms, to the left, and to the right Poseidon. Formally it is a work perfectly framed within the 17th century school of Madrid, developed around the court. Thus, we see a sumptuous, allegorical classicist baroque, where the studies of light and color are especially relevant, revealing the exalted and luminous tone typical of this school's maturity. In particular, we can relate this painting to the circle of Juan de la Corte, painter of Flemish origin. We know nothing of his first formation today, for Palomino's assertion of his birth in Spain was documented, quoting in his testament that he was born in Antwerp. Also conserved documents in which the painter declares his apprenticeship in Flanders, where "it exerted his office by many years". For all this he has been associated with Flemish artists of the time who, due to personal knowledge or the study of his works, strongly influenced the configuration of his personal language. We know of his establishment in Spain at least since 1613. His work at the court encouraged him to ask for the place of royal painter who left vacant Bartolomé González...

This larger than life tapestry is simply breathtaking. The baroque scene is depicted in woven hues of vibrant blue and soft neutrals. Standing at the grand height of eight feet eleve...

Venetian School painting of four angels, allegorically depicting the variable winds of change and time. Unsigned, believed to be by a follower of Pietro Li...

Superb impressionist folding screen with 4 panels in painted canvas. The painting depicts the shores of a canal. We see a fisherman on the right bank, accompanied by his little white dog quietly sitting in the grass. The man observes the 2 boats (a sailing boat and a barque) which sail on the water. Woods appear in the background. The painting is of very good quality, well done and bright. Signature lower left: "CH Frechon 1894" for Charles Frechon...

WILLEM VAN MIERIS CIRCLE (1662-1747) "Aeneas flees from burning Troy" by Federico Barocci Oil on canvas. Restorations. Dim.: 117 x 170 cm good condi...

17th century, The condemnation and martyrdom of the four crowned saints by Giuliano Dinarelli Mid-17th century, Italy, Bologna Oil on canvas, frame ...

A highly decorative pair of hand painted marriage portraits depicting a man & woman in 17th century courtly attire. Both figures shown surrounded by flowering vines - he surrounded b...

Well listed Hungarian artist Berkes Antal (1874 - 1938). Active in Paris, Munich and Budapest. "Spring in Paris", circa 1910s. Dimensions: 26"h x 38"w, oi...

A Beautiful Late 19th century Berlin K.P.M. – Vienna style porcelain rectangular plaque of the five senses Signed Knoeller Finely painted after Hans Makart with the five vertical panels, each depicting a female nude against an exotic naturalistic background, emblematic of a senses, the reserves enriched with gilt stylized vine. Impressed K.P.M and scepter marks, painted blue Beehive mark, within a giltwood frame. Hans Makart, was an Austrian allegorical painter and designer (1840-1884) who trained at the Vienna Academy between 1850 and 1851 under Johann Fischbach. Makart rejected the established rules of classicism, preferring to embrace the sensual expression of color. He became one of the leading artistic figures of the period in Vienna and an important purveyor of fashionable taste. One of Makart’s greatest achievements was staging the vast costumed parades held to celebrate the silver wedding...

Wonderful image after Garofalo Fine Steel engraving. Published by Jones C.1840 Unframed.

Italian school according to Domenichino from the 18th century. "Martyrdom of St. Peter of Verona" oil on canvas (90x60.5cm) in frame 95cm x 65.5cm good condition

ITALIAN SCHOOL of the 17th century "Allegory of Winter". Oil on canvas. 70.5 x 96 cm good condition

Our extraordinary 17th century tapestry from Brussels, in the manner of Jacques II Geubels (-1633), depicts Zeus and Hera being handed the world. 10 feet 8 inches by 13 feet 3 inches...

This is a gorgeous and rare exquisite pair of antique 17th century Flemish Verdure landscape tapestries depicting a beautiful and rich summer scene of a countryside with lush trees a...

Saskia smiling with feather bar (circa 1633). Oil on canvas. Exceptionally beautiful copy after Rembrandt, back titled - copy after No. 1556, the royal pai...

A wonderful and most unique Italian 18th century Baroque Period Mecca wall decor/mirror. This most decorative and rare carved Giltwood wall panel is set within an elegant mottled fra...

A very large, impressive, and beautifully painted Baroque era still life with a colorful parrot and flowers. Oil on canvas in giltwood frame. Italy, late 17th century-early 18th cent...

19th century pair of Putti oil paintings on wood, set of two walnut panels depicting woodland landscapes with cherubs playing of Italian origin. Thi...