Wall Decorations

A set of two Baroque paintings: - A Saint Paul of Tarsus Painting, also called Apostle Paul, Saul of Tarsus, Saint Paul the Apostle or Apostle of the Gentiles. The sword in Saint P...

Tapestries were ubiquitous in the castles and churches of the late medieval and Renaissance eras. At a practical level, they provided a form of insulation and decoration that could b...

Charles Bevan, for Marsh Jones & Cribb. An exceptional English Aesthetic Movement exhibition quality wall shelf. A showpiece using an array of specimen woods. The main body looks to ...

Very early 18th century Dutch woodblock engraving of the Northern Whale Fishery, circa 1720, a hand colored engraving illustrating the Dutch whaling flee...

A fine and historical Palatial oil on Canvas by August Wolf. Entitled Venetian Festival . This large oil on canvas was commissioned by Count Adolf Friedrich Graf von Schack, a colle...

Bing & Grøndahl after Thorvaldsen. Antique biscuit wall plaque with angels in relief. 1870/80s. Diameter: 32.0 cm. In great condition. Marked. Firs...

An 18th century painting of a gallant scene in a park. Attributed with seal of painter's studio to Philippe Mercier (1689 to 1760) from the circle of the french painter Nicolas Lanc...

A very large antiqued reproduction oil painting after Jean Antoine Watteau. Apty titled "Pilgrimage" features an antiqued canvas with unique craquelure and Baroque scallioped frame. ...

A fine flemish 18th-19th century Verdure landscape tapestry, the wool and silk tapestry centered by a scene of a tall tree within a forest background and a foliage border. Circa: 180...

Each with shaped shelf over a tapering base pierced and elaborately carved with foliate C-scrolls and rocaille decoration. Collection of Mario Buatta, New York, NY.

Alms plates were used to collect donations during church services. This plate depicts Adam And Eve.

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...

Antonio Alegri, (Correggio - 1494-1534) Our Lady with the Child Jesus oil on copper, Italian School 16th century With inscription on the back '1494-1534...

A 1700`s painting of Joseph with the Child Jesus on his lap, a rare Baroque motif of paternal love. Oil on wood Frame: 47x54 cm Without frame: 27x34 cm

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

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...

AURELIANO MILANI (attributed) (Bologna, 1675 - Rome, 1749) "The Repentance of Saint Peter" Oil on canvas, 75x58.5 cm without frame 85cm x 68.5cm with frame Aureliano Milani (Bologna,...

Sculpture relief picture has certification of authenticity and a signature. This artistic and original object, created by AG3 using traditional craftsmanship techniques characterist...

Fine folio including early and finely executed portraits of Renaissance artists by Joachim von Sandrart. Included are portraits of: Antonio da Correggio; Rosso Fiorentino; Gianfrancesco Penni; Polidoro da Caravaggio...

Venus and cupid 19th century. French school. oil on canvas. Dimension: 66 x 51 cm. Good conditions.

Drawing Greek sculpture academy made in charcoal at the beginning of the 20th century, at the Spanish academy in Rome. Depicting a Greek sculpture.

Gaetano Ottani (1720 - 1724 / 1801) Pair of paintings depicting landscapes with ruins and figures Measurements: canvas cm W 82 x H 66; with frames cm W 98 x H 82 x d 6 The two valuable paintings, made in oil on canvas, depict landscapes with architectural whims animated by some figures. The architectural whim, an artistic genre that has made its way in Italian painting since the seventeenth century, is characterized by the representation of fantastic architectures or inventions of perspective type, sometimes combined with elements drawn freely from reality. In the works we observe large arches, colonnades and friezes fallen into disrepair, placed in perspective in order to create a greater depth, are inhabited by spontaneous vegetation that partly covers the top. Around other architectural elements of classic taste, such as sarcophagi and vases, move and balance the composition. Greenery dyes the ground, which fades on the horizon into plains with some small and distant buildings, while some rocky mountains are lost far away, creating a scenic backdrop that emphasizes and amplifies the effect of the perspective escape line of buildings. Some figures of gentlemen who entertain in speeches, accompanied by a dog, other travellers and characters from rural life enliven the composition. It highlights a remarkable pictorial quality with which the artist traces the characters and the ruins and a bright and well-balanced color, played on delicate tones and in harmony with each other. Stylistically the works are certainly attributable to the Italian painter Gaetano Ottani (Italy, Bologna, 1708 - Turin, 1801). Gaetano Ottani was born in Bologna in 1708. Unfortunately, the artist still lacks a monographic study. The date of death by many still erroneously indicated in 1808 is instead 14 January 1801 when the artist was 92 years old. He was therefore born in 1708, and not in 1720-24 as many report (for the recording of the act of death to the Municipality of Turin, cf. Historical Archives of the Municipality of Turin, Rubrics of the Acts of Death, vol. 37: Thursday, January 15, 1801 "Gaetano Ottani - 92 - old age - S. Filippo" is preserved among the documents of the parish of San Filippo di Torino). Ottani studied at the Accademia Clementina. He had a complex career as a set designer, as a painter and as a tenor, much appreciated in Italy. He devoted himself mainly to easel painting, and in particular to the genre of caprice, often with views of ruins and fantasy marinas full of details, night visions on colonnades. He first took as an example Pietro Paltronieri, the Mirandolese; to the maturation of the style, he had to concur the study of known artists in the journeys undertaken as an opera singer. He was very influenced by the great scenographer Ferdinando Galli Bibiena. Tenor, and therefore in the system of the voices of the drama for music of the mid-eighteenth century predestined to the parts of ruler and parent, he always sang only in “opera seria”. Diego Tufarelli, impresario at S. Carlo in those years, had hired Ottani considering him the tenor...

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...

A six panelled screen of the late Baroque period Oil on canvas, depicting a panoramic view of a Capriccio north European landscape, perhaps Schlesweig-Holstein, with distant views of the sea, the ruined castles, peasants, and a lady of quality mounted, within a running arched canopy...

Belgium / 19th century / painting / oil on canvas, wooden frame / Baroque / Antique / Mid-century A beautiful painting in the style of the Flemish old masters. This enchanting pain...

A fabulous early 19th centruy Italian Console, wall Bracket is an incredible example of venetian crafstmanship of that time. The top has a very good and spacious size. Gold gilded an...

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...

Pair of beautifully framed 20th century crackled paper prints depicting entrances to the Schloss Belvedere Palace in Vienna. One print is of the Main ...

Circular with a copper luster. Signed on reverse with the Cantagalli rooster in blue. Cantagalli was a pottery producer in Florence of high quality collected throughout the world.

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...

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...

Silver and gold gilt decorative sculpture pediment with scroll work, sunflowers and leaves. Could be used over a mirror, bed as corona or door having the right width or above headboa...

A set of three antique Dutch engravings and etchings from the 18th Century. This set has been professionally framed in newer gilt frames and feature acid-free paper to protect these...

Pair of 17th century Italian carved fruit swag architectural elements. Stunning large pair of 17th century Italian Baroque carved giltwood fruit swag archit...

Spectacular large scale mid-17th Century Flemish tapestry created after the 1630s design by Jacob Jordaens (d. 1678). Several tapestries of identical design were produced based on dr...

Two oils on canvas, 18th century school, representing 2 of the miracles of Saint Vincent Ferrier: the healing of an injured person and the child stricke...

Hand carved to perfection from dense, old-growth white oak in the manner of the Renaissance Revival, this Antique Wall Shelf features elaborate foli...

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 ...

Amazing ALLEGORICAL PANEL in walnut 17th Century Magnificent quality wood, inspired by a 1617 panel from the Louvre. Justitia represents justice, equity and order and Mars embodies ...

Large Belgian oil painting, still life with flowers: a beautiful cascading bouquet of multicolored flowers on dark ground enhanced by golden drape; sitting on table with small arrang...

Egyptian Revival-style polychromed wall plaque featuring a costumed Egyptian figure.

Dating from the 1960s, this spectacular mosaic wall panel depicts King of ancient Greek mythology Tereus confronted with the head of his son, Itys. It is beautifully made in Roman st...

Pair large Italian gilt-carved brackets. Pair of gilt-carved brackets with rich silvered-gold patina and faux marble tops, Italy, circa 1770s Dimens...

Magnificent and enormous pair of 17th century Italian Baroque period carved giltwood putti wall figures. The pair maintained its original gilding and co...

This pair of antique watercolor paintings are done by an unknown artist, likely from France or Italy in circa 1880 in a Renaissance style. The paintings each depict a couple in a ballroom setting dressed in period Renaissance costumes...

The embroidered appliques in fine silk and gold and silver threadwork with coloured glass, sequins and mirror simulating jewels in deep relief worked onto the original red velvet tex...

Gorgeous & stylish Swedish wall cabinet in Empire style 19th century. with carvings in walnut & gilt bronze decorations Really nice solid wood quality with hand carved decorations. ...

A very fine late 17th century allegorical Flemish Renaissance Baroque tapestry. Cavaliers Frame measurements: 1.5in.

A pair of carved and gilded chestnut architectural elements. Both vigorously carved in high relief from a single section of chestnut with its first gilded finish still in place, the...

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

This is a gorgeous and incredibly intricate piece of art that we believe is a later painting replicating Vanini who was the original artist. We used a jeweler's loop for magnificatio...

Watermelon Linocut Print by Alekos Fassianos, 1990s - 2000s Framed, Signed Print: 20 cm x 20 cm Frame: 40 cm x 40 cm

This charming yet substantial Neo-Rococo bracket was made in Berlin by KPM, the royal porcelain manufactory. Finely modeled, and pierced, the animated design is attributed to Alexand...

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

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...

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...

Early 20th century embossed copper wall hanging bust portrait plaque featuring a portrait of Flemish artist Peter Paul Rubens, framed by his name in Latin and accented with a coat of...

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...