Wall Decorations

Fine 17th century Baroque period silk and metallic thread embroidery panel. Excellent vibrant colors of bold burgundy, pale cream and beautiful, elegant teal with a border of textur...

Important English School " LADY HAMILTON " 18th Century Oil on canvas, 18th century English school. Signed. Small defects. Dim.: 124 x 99 cm good conditions

Early copy of Dutch painting. Oil on canvas in antique style wooden frame. “Elisabeth Bas (1571, in Kampen – 2 August 1649 in Amsterdam) was a figure in the Dutch Republic. She was the wife of Jochem Hendrickszoon Swartenhont, an admiral in the navy of the Dutch Republic and military hero. The portrait is now in the Rijksmuseum Amsterdam, where it is known as Elisabeth Bas and attributed to Ferdinand Bol...

17th century, Pair of paintings depicting Architectural Caprices with Bacchanal and Sacrifice Scene, Alberto Carlieri (Rome 1672-1720) Oil on canvas; Dimensions: canvas cm H 73.5 x W...

Superb French hand-painted watercolor/gouache miniature on a bone panel. It depicts Bacchus and Ariane in a courting scene set in a mountainous landscape. The 18th century miniature is a version of the painting by Charles Joseph Natoire (1700-1777). It is a small but elegant painting with amazing quality details. It is mounted in a hand carved polychrome and gilded Spanish Baroque style wood frame...

A pair of Oil Italian Baroque paintings: - A 17th Century baroque painting of a sideview of Jesus Christ Salvator Mundi or Saviour of the World in sfumato Saint Savior of the Worl...

Italian 17th century still life painting in period carved gilt frame Italian school still life painting from the workshop of a great master. The 17th century Baroque painting in oil...

Magnus Jørgensen (1683-1738), Denmark. Painting: "Two Gentlemen at a Well-Laid Table." Signed: Magnus Jørgens(en) Pinxit et invenit Ao 1724. Oil on canvas, mounted in later black fr...

A collection of 18 framed prints from engravings of musical instruments from the book by Gabinetto Armonico, which was published in 1722. The book had a total of 150 instruments. The...

Early 17th century French School "Virgin and Child " Oil on canvas (Original canvas, restorations, gaps) 71.5 x 60.3 cm Provenance Duc de Lesdiguières, according to an old label ...

The category Antique Paintings With Flowers, Nature Morte con Fiori, features an Oil Painting on Canvas from the nineteenth century era, depicting a flower vase with a bouquet of Po...

17th century French Baroque wool and silk tapestry. Work of Felletin, ca 1690 France.

A large palatial Flemish baroque historical tapestry depicting a battle scene, with soldiers to the foreground on land, the opposing army arriving by sea, with a city under siege to ...

A fine pair of mid 19th century Aubusson Tapestry Wall panels created for hanging between windows or doors and were known as Entre Fenetre panels. Hand w...

This six panel Italian screen is from the Baroque period, circa 1700. The four central panels have been affixed to a foldable frame, while the two outer panels are detached. When all...

1890 Antique French Tapestry Arts & Crafts Ceremonial 8x9 7'10" x 8'5" 239cm x 257cm 1890 "This is an outstanding very large antique French tapestry- This room size piece incorporat...

A rare pair of Flemish 18th century "Verre Églomisé" Reverse Glass Paintings, each depicting riverfront scenes with figures, fishermen castles, co...

An imposing religious-themed painting depicts the scene of the "Assumption of the Virgin". The iconography in this 19th-century painting follows the tendencies of Baroqueization and ...

This striking oval portrait, attributed to the circle of Nicolas de Largillière, exemplifies the refined elegance and artistic sophistication of late 17th to early 18th-century Frenc...

18th century French pair of oils on gold leaf panels. One is depicting an angel playing the violin, and the other one is holding the music book.

Rapture of Europe Oil on canvas. 17th century, following the model of VERONESE, Paolo Caliari (Verona, 1528-Venice, 1588). Oil on canvas showing a scen...

A fine and large flemish 17th-18th century Baroque figural tapestry "A Royal Courtship" depicting an allegorical courting scene of a young princess meeting her prince at the watchful eye of a mesmerized queen standing behind her. A young girl supports the princess' dress train...

Four paintings depicting the seasons, circle of Noel Coypel, second half of the 17th century Oil on canvas Measures: cm W 37 x H 46 x D 2 cm (canvas) The four paintings, presented in...

Pair of magnificent, large gilt and hand-carved wooden wall brackets in the Baroque/ Rococo style featuring elaborate and elegant foliate scrolls, measuring 22 by 14 1/2 by 10 inche...

Pair of original Baroque wooden putti / winged cherubs. We were told that they originate from a church in the French Pyrenees. We suppose they are from...

17th century old master oil painting of Saint Bernard of Clairvaux. Spanish school. Dramatic expression and perfect use of chiaroscuro, the art of light and shadow effects, makes th...

Beautiful antique painting, a fruit still life against a dark blue background. The painting is painted on canvas, the canvas is pasted on wo...

By Johannes Van den Aveelen and engraved by Holmice. Six views of Swedish royal residences. Hand colored engravings. Framed and matted.

A fine and large 19th century oil on canvas after Bartolomé Esteban Murrillo's (Spanish, 1617-1682) "Beggar Boys Playing Dice" (The original work by Murillo was painted in 1675). The impressive artwork depicts two young boys playing dice while another eats a piece of fruit as his dog watches on., within an ornate gildwood and gesso frame bearing a label from the faming company Bigelow & Jordan. The original work by Murillo is currently at the Alte Pinakothek Museum in Munich, Germany. The present work is signed: L. Rüber. Circa: Munich, Late 19th Century. Bartolomé Esteban Murillo (born late December 1617, baptized January 1, 1618 – April 3, 1682) was a Spanish Baroque painter. Although he is best known for his religious works, Murillo also produced a considerable number of paintings of contemporary women and children. These lively, realist portraits of flower girls, street urchins, and beggars constitute an extensive and appealing record of the everyday life of his times. Murillo was born to Gaspar Esteban and María Pérez Murillo. He may have been born in Seville or in Pilas, a smaller Andalusian town. It is clear that he was baptized in Seville in 1618, the youngest son in a family of fourteen. His father was a barber and surgeon. His parents died when Murillo was still very young, and the artist was largely brought up by his aunt and uncle. Murillo began his art studies under Juan del Castillo in Seville. There he became familiar with Flemish painting and the "Treatise on Sacred Images" of Molanus (Ian van der Meulen or Molano). The great commercial importance of Seville at the time ensured that he was subject to influences from other regions. His first works were influenced by Zurbarán, Jusepe de Ribera and Alonzo Cano, and he shared their strongly realist approach. As his painting developed, his more important works evolved towards the polished style that suited the bourgeois and aristocratic tastes of the time, demonstrated especially in his Roman Catholic religious works. In 1642, at the age of 26, he moved to Madrid, where he most likely became familiar with the work of Velázquez, and would have seen the work of Venetian and Flemish masters in the royal collections; the rich colors and softly modeled forms of his subsequent work suggest these influences. In 1645 he returned to Seville and married Beatriz Cabrera y Villalobos, with whom he eventually had eleven children. In that year, he painted eleven canvases for the convent of St. Francisco el Grande in Seville. These works depicting the miracles of Franciscan saints vary between the Zurbaránesque tenebrism of the Ecstasy of St Francis and a softly luminous style (as in Death of St Clare...

A stunning pair of antique Italian trompe l’oeil still life paintings, a pair of 18th century oil on canvas vision jokes, false still life paintings known as deception paintings by a follower of Cristoforo Munari (Reggio Emilia 1667- Pisa 1720) of Italian origin, dating back to the first half of 1700s. These 18th century Italian Baroque trompe l'oeil paintings depict an abundance of objects are arranged on a table. The background of the disordered compositions consists of a wooden board wall with hanging sketches and other objects. Both still life compositions are painted in soft ocher tones and have the same unseen source illuminating the display from the left, creating a dark shadow on the right side of both paintings. Biscuits, a glass vase of flowers, earthenware pots, a wooden instrument...

We kindly suggest that you read the entire description, as with it we try to give you detailed technical and historical information to ensure the authenticity of our objects. The fol...

Netherlands 17th century, oil on canvas, doubled, 64 x 50 cm, without frame not signed.

17th century Dutch Old Master painting with provenance, Barnyard with farm animals and peasants. This Dutch oil on canvas painting is a jewel among the g...

The Pietre Dure panel inset with lapis lazuli, marmo giallo, in a rectangular shape, probably a panel from a cabinet.

French Rouen faience decorative wall plate, hand painted with blue, green and yellow decors. Dimensions: Length 32 cm / 12.59 in, height 22 cm / 8.66 in,...

This stunning 19th-century French decorative fan is a testament to exquisite craftsmanship and artistic elegance. The fan leaf is meticulously hand-painted on vellum or silk, featuri...

Distinctive 19th century figural carved walnut figure of a man holding a marble top. Bearded figure has his arms raised holding a marble top as a console table. Carving is one solid ...

FRENCH SCHOOL of the 18th century. "Virgin Mary and Child Blessing". Oil on canvas in a gilded wooden frame. H.77 L.61cm 87cm x 71cm with frame good condition

A set of three beautifully executed porcelain plates from around 1880-1890. Attributed to KPM Kaulbach, Dresden, Germany. German craftsmanship and artistic skill, both in the beautif...

A Late 17th Century Painting Depicting A Cavalry Battle Height: 115 cm Width: 75 cm Depth: 6 cm. Provenance: Private Australian Collection.

Attribution to Francesco Solimena "Resurrection of Christ" 18th Century oil on canvas (129x77 cm.) framed good condition for the period Francesco Solimena, also called l'Abate C...

Portrait of a high-ranking officer with arms crossed over his chest and three-quarter view in detailed military garb: fringed silk epaulets, gold buttons, red cuffs. The attention to...

Florentine or Flemish school 17th century study of the Medici Lion by Flaminio Vacca. Measures: Sheet 31.7 x 48.8 cm. (12.5 x 19.2 in.) Frame...

Beautiful antique silver gilt hand carved wood wall shelf. Perfect for displaying art work or décor.

A monumentally scaled and most decorative Italian late 17th century Baroque Period Venetian st. patinated Wood and Giltwood wall decor. This most impressive wall decor/plaque is unde...

Pietro Bianchi (Rome 1694 - 1740) attributed Saint John the Baptist in the Desert Oil on canvas 98 x 75 cm The information on Bianchi's life comes to us thanks to two eighteenth-cen...

Depicting napoleon and titled on the road from Waterloo to Paris. This museum-quality work is recorded by the royal academy as an exhibition picture by stone, see photos. Has recently been professionally cleaned and restored to excellent condition. Measures: 50 W x 40.75 H overall in frame. 35.75 W x 26.75 H visible area. Stone was a British painter and illustrator best known for his realist depictions of garden parties, literary scenes, and sentimental portraits, as in his hallmark painting In Love (1888). Notably, Stone also produced illustrations for books by Charles Dickens and Anthony Trollope. Born on July 4, 1840 in London, United Kingdom, he was trained from a young age by his father, the renowned painter Frank Stone...

Caroline Doüezy D’Ollendon Aliases Caroline "de" La Ville-sur-Illon, "de" Ollendon, Caroline "d'" Ollendon Polychrome enamel plaque on copper Depicting a Lady of Court, in Neo Renai...

Copy of a seascape painting showing a ship in the open sea with another ship in the distance

Abraham Brueghel (1631 - 1690) Attribution - "Triumph of Flowers and Fruits in Plein Air" oil on canvas 95 x 130 cm without frame 100cm x 135cm with frame good conditions Abraham Br...

A 19th Century Meissen Porcelain Plaque of 'The Banishment of Ishmael and Hager', in its Original Frame. This fantastic Meissen porcelain plaque depicts...

Francesco Aviani (Italy - Venice, 25-11-1662 / 1715) att. Couple of paintings depicting Capricci Oil on canvas, 135 x 183 cm, without frame The two large and fine paintings depict two illusionistic architectural renderings, with views of colonnades and arched buildings, animated by figures. The compositions are characterized by the harmony with which the painter introduces the sumptuous architectural monuments, the mirrors of water, the buildings in the distance and the views of the landscape. Dominates with a color on the tones of brown and ochre that stands out on the blue sky, marked by some cloud of steam. The insertion of the figures to enliven the architectural views also balances with the set. The Capriccio, an artistic genre that has made its way into Italian painting since the 17th Century, is characterized by the representation of fantastic architectures or prospective inventions, sometimes combined with elements drawn freely from reality. The two paintings are an example of this type and they are a very interesting and Fine artwork. The remarkable pictorial quality emerges both from the composition of the ensemble and from the way in which the artist describes the views with great attention to detail, highlights and refined, perfectly realistic, chiaroscuro. The same must be recognized for the figures: these are described with a wise brushstroke, quick and quick touches give the dynamism of the moment that is captured, as if time had stopped to show and narrate what is happening. The painting on the right represents a large Baroque building in stone and paved with marbles, two floors, with moving façade, large columns with corinthian columns, a large portal with a staircase with large footsteps, a balustrade with string, from which some figures appear, and two equestrian monuments in bronze. The sumptuous building overlooks a large POOL of water, with a gushing fountain, around which some characters sit. In the second floor is described a white palace from which rises a tower crowned by a structure with wrought iron loggia. In addition there is a bridge and some architectural ruins behind which some mountainous reliefs fade towards the horizon. On the staircase is described a particular scene. The people seem to be part of a very precise story. A woman, in the shadow of a parasol supported by a servant, would seem to drive out of the palace a man, who, taken under his arm by two maidens with a determined attitude, is led to a boat. The scene could be identified with the biblical episode of the parable of the prodigal son (Luke 15,11-32), at the moment when the prodigal son is robbed and driven away by the harlots. The episode tells of a man with two children. The youngest said to his father: “Father, give me the part of my inheritance”. And the father divided the substances. After not many days, the youngest son, collected his things, left for a far country and there he lost his substances with prostitutes and living as a debaucher. When he had spent everything, there came a great famine in that country and he began to find himself in need. Reduced to hunger, he was forced to be a pig herder to survive. He therefore meditated in his heart to go to his father and ask for his forgiveness and to be welcomed anew, even as a servant. While still on the road, however, the father saw him and ran towards him, receiving him with open arms. He then ordered his servants to prepare a great feast for the occasion, killing for the purpose the "fatty calf". The firstborn did not understand why his brother was given such treatment, and reminded the parent that he, who had always obeyed him, had never received a single kid to celebrate with his friends. The father answered him: «Son, you are always with me and everything that is mine is yours; but it was necessary to celebrate and rejoice, because this brother of yours was dead and came back to life, was lost and was found». The parable of the prodigal son was often portrayed in painting and the scene he finds most is certainly that of returning home in his father’s arms. Among the many is a canvas by the famous painter Giovanni Paolo Pannini (or Panini) (Italy – Piacenza, 1691– Rome, 1765) kept at the Hallsborough Gallery in London. Rather rare, however, is the scene of the prodigal son driven and robbed by harlots. There is an engraving by Hans Collaert II (1561-1620) in which this moment is described in the background compared to the moment, narratively later, in which he is penitent among the pigs. The second painting, certainly pendant of the first, represents a similar palace, with some characters overlooking the balustrade marcapiano and other figures around the large bathtub quadrilobata. In the foreground is described a monument with two large stone sculptures. In the distance some architectural elements and, beyond, the mountains are lost on the horizon. The studies related to the numerous painters of architectural views and caprices, active in Italy, and the archival documents found, which could better clarify commissions, biographies and certain works, are scarce and sporadic. Therefore there are still many difficulties in reconstructing a catalogue of autograph works for each author. Through paintings in private collections, in museums and paintings passed on the antique market it is however possible to advance some attributions in order to better delineate the various artistic figures. The style of the works studied here leads to a dating that runs between the 17th and 18th Centuries, with obvious influences dictated by the perspectives of the brothers Galli Bibiena. The analysis of the architectures and the chromatic palette suggests that we are in the presence of a northern Italian and Venetian author. Observing the decorations and the volutes, the brightness and the perspective disposition in fact, we find several analogies with those used by the Vicenza painter Francesco Aviani, excellent in pictorial perspective and architectural views. The biographical profile of Francesco Aviani (Italy - Vicenza, 1662-1715) was essentially traced in 1956 by Andreina Ballarin, then re-visited by Federica Spadotto in 2014 and Giancarlo Sestieri in 2015. Certain documents about his life are scarce, as are the documented works. He was born in Venice, probably on 25 November 1662, to Bernardo and a Magdalene whose surname is unknown, and was baptized on 3 December 1662. Between 1701 and 1703 he worked, together with his brother MarCo, sculptor, for the fresco decoration (now illegible) of the church villa in Soella (Vicenza). On October 16, 1703 he married Isabella Carcano. On March 26, 1715 he made a will and died on April 3 of the same year, in Vicenza. The frescoes in the refectory of the sanctuary of Monte Berico in Vicenza are considered authentic works by Aviani, probably made in 1708; the paintings preserved in the Civic Museum of Vicenza: “Landscape with Lazzaro and the rich Epulone”; “Christ among the doctors”; “The miraculous fishing”, works not datable but with attribution corroborated by style. In addition, the frescoes in the east and west corridors of the Villa La Rotonda, near Vicenza; the fresco in the apse basin of the chapel of the church S. Croce, Vicenza, now destroyed; the frescoes of the central hall of Villa Camerini a Montruglio (1714) and a painting of a “Porto Regio”, of which we have a print engraved by Dall'Acqua. From his works emerges the artistic background that animated the Venetian culture in the early eighteenth century. The scenic grandeur with which Aviani treats the architecture also suggests a stay in Emilia of the painter, in which he could have come into contact with the environment of the Bibiena. These contacts would be confirmed by the press of Cristoforo Dall'Acqua (Vicenza 1734-1787), “Il porto regio”, after a painting of Aviani. The press was part of a group of engravings, representing royal buildings, reproducing paintings of the Bibiena. In the eyes of Dall’Acqua, therefore, Aviani’s work was not foreign among those of the Emilians. Inside the sumptuous architectural whims, Aviani often depicts biblical scenes, in which the characters share the space and the narrative rhythm, along with figures drawn from everyday scenes, memories of the Veronese and Bassano heritage. Also in the works covered by this study the author does not seem to want to give up a biblical subject, though the purpose of the paintings appears to be clearly a staging scenography-architectural within which the characters are relegated to the role of extras. From the examination of the architectural Capriccio gathered under the name of Aviani then emerge common elements. The comparison between these works and the works in question highlights the proximity of the compositions. The imposing and scenic architectures are in fact equally characterized by the perspective-scenographic ability diffused in emilian “quadraturisti” and in Bibiena work. In fact, you can see the spectacular slender architecture in the lower part, the loggias that create chiaroscuro games with arches and binate columns placed on massive bases and overhung by projecting cornices. Significant also the comparison with two paintings with architectural whims in a night vision attributed to Francesco Aviani. In Aviani’s works it is possible to find a certain knowledge of the Roman Codazzi paint nd its early development of the eighteenth century, developed with the Locatelli, the Pannini and the less known Domenico Roberti. To Roberti have been recently attributed two works that have some compositional affinity with the canvases in question. The same can be done for a work on the antique market, attributed to Pietro Francesco...

A fine and large Flemish 17th-18th century Baroque figural historical tapestry fragment. The large tapestry depicting an allegorical Royal family scene of a warrior meeting his new b...

A lovely key hanger board made of iron, brass and copper. Found at an estate sale in Nuremberg, Germany. It is not marked. A nice addition to your collection. It is in very good as f...

Wonderful image after Domenichino Fine Steel engraving. Published C.1850 Unframed.

Pair of stunning 17th / 18th Century Italian School oil on canvas mounted on board paintings of Lions and Leopards. Italian artists incorporated ele...

Julius Caesar Ibbetson 1759-1817 old master painting English, 18th century This English school painting by Julius Caesar Ibbetson (1759-1817) depicts a countryside farm house off of a road with a horse drawn wagon...

Original oilpainting on woodplate by the famous artist Christian Wilhelm Dietrich (Dietricy). Born in Weimar 1712, died in Dresden 1784. In ...