Wall Decorations

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...

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...

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 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...

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...

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...

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...

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

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...

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...

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

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...

We kindly suggest you read the whole description, because with it we try to give you detailed technical and historical information to guarantee the authenticity of our objects. Parti...

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...

We present you with this beautiful floral composition from the end of the 19th century, now enclosed in a chic contemporary frame. The measurements of this piece, including the fram...

This antique "fixe sous verre" (or églomisé glass) wall clock was created in France, circa 1850. This clock features a painted pastoral scene with boat...

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...

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...

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...

A large 19th century Berlin Rectangular K.P.M porcelain painted framed plaque Germany, circa 1880 Very well painted depicting a women draped in linens with two angels above h...

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...

Elegant 19th century pastel portrait of French officer with gold wooden frame. Excellent condition. Measures: 73 x 62 cm and 57 x 46 cm.

Important English School, " Young Gentlemen " 18th century Oil painting on canvas cm. 76.5x64 in gilded frame. Condition: work lined, good condition

St. Bartholomew's Martyrdom. Painting on vellum. After models from Ribera y Cucó, José (Játiva, Spain, 1591-Naples, Italy, 1652). The composition is organized around the diagonal t...

French School 19th century, half portrait of Dyonissus, oil/canvas, restored, relined, signed lower right, approx. 60 x 50cm, gold colored stucc...

PULZONE Scipione (1554 - 1598) School "Virgin of Sorrows" 17th Century Oil on canvas marouflaged on canvas "Virgin of Sorrows". Follower of Scipione Pulzone. Italian school. Perio...

18th century Central Italian Painter - Madonna with the praying Saint John oil painting on canvas Dimensions: 63x76 cm good condition

Around Giambattista Pittone "Alms of a Saint" 18th Century oil on canvas (cm 52.5x38) 62.5cm x 48cm frame Rear label "G. Pittoni" in frame good condizioni Giovanni Battista Pi...

Breathtaking 18th Century Antique French Beauvais Tapestry, Country of Origin: France, Circa Date: 18th Century - Size: 4 ft 4 in x 6 ft 9 in (1.32 m x 2.06 m).

19th century Italian School. "Bird Seller". Oil on canvas, according to an impression by Datero, Veneto of the 3rd met. of the 19th century. Dimension: 166 x 201 cm. Very good condit...

A Highly Impressive and Decorative Very Large Flemish Oak Figure of a Winged Angel, late 17th Century, previously part of a church interior. The piece has been beautifully carved wit...

- An amazing Baroque Period painting named "La Fille Grondé'' (Disobedient daughter) by the renowned painter Paul Emile Destouches (1794-1874). It depicts a family scene with the be...

Set of four antique hand-colored engravings. "Britannia Illustrata," the publication in which these prints originally appeared, was one of the most important topographical works of t...

Religious Oil on Canvas – European School, 18th Century Dimensions: 50 x 45 cm (frame), 34 x 29 cm (view): San Carlos Borromeo, Archbishop of Milan (1538-1584) A serene and contempl...

Copy of a portrait of "Emanuele Filiberto", Italian military leader of the 1500's

Gilt-framed oil painting on board, signed "W. Mulready." Mulready was an Irish painter who worked in London, and a member of the Royal Academy, whose work today hangs in the V&A Muse...

Massimo Stanzione (Frattamaggiore or Orta di Atella 1585 - Naples 1656) circle of Visitation of the Blessed Virgin Mary to her cousin Saint Elizabeth Oil on canvas 147 x 100 cm Writ...