Baroque Decorative Art

Wonderful image after Rembrandt Fine Steel engraving. Published by Blackie & Sons London. C.1850 Unframed.

O/5131 - Antique ribbon-shaped frieze in gilded wood: simply elegant. Use: over a door, a painting or a rectangular mirror. I could have restor...

Wonderful image after Rembrandt Fine Steel engraving. Published by Fisher, London, Dated 1842 Unframed.

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

outstanding tapestry in wool and silk, Bruxelles, second half of the 17th century. Depicting a detailed scene of The Bull Hunting. On the background of the landscape the Monument of ...

Germany Ansbach 18th century A set of 16 blue and white, with manganese tint, tiles with decorations of animals and figures. Very fine painting and much detail in the animals and fi...

Pair of Baroque Frames With Putti and Landscape carved in a single basswood board and composed of richly carved foliage and and chasing scrolls and intertwine until culminating at t...

Gorgeous blue hand painted Baroque cherub or angel 18th century style Portuguese ceramic tile/azulejo The tile painted in cobalt blue over white in typ...

Antique French hand-carved oak wood wall plaque with cherub's head, ca. 1900. An adorable Baroque-style hand-carved dark brown oak wood wall plaque or wall decoration depicting a hea...

L'essenza di questo quadro è rappresentato da un teschio messicano realizzato attraverso la tecnica dell' intarsio a mano che danno vita a dettagli intricati che sottolineano la comp...

Section of a 18th century ship in oak with remnants of polychrome. Presumably part of a bowsprit. It is possible to hang this piece horizontally and vertically.

Wonderful image of Job Photogravure Published C.1900 Unframed

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...

Wonderful image of a Doge of Venice, Leonardo Loredan Photogravure Published C.1900 Unframed

Wonderful image after Michelangelo Fine Steel engraving. Published by Jones & Co. C.1850 Unframed.

Gorgeous blue hand painted Baroque cherub or angel 18th century style Portuguese ceramic tile/azulejo The tile painted in cobalt blue over white in typical 18th century Portugal set ...

17th Century Portuguese Tile Panel Restored 56cm x 56cm 14cm x 14cm tiles With certificate of authenticity and export issued by the Dir...

An extraordinary Original stealing engraving of the royal gallery in Munich and Schleissheim, hand-colored. Beautiful hand crafted gilded Frame. Dated at the backside with a label fr...

Wonderful image after Carracci Fine Steel engraving. Published by Jones & Co. C.1850 Unframed.

Wonderful image after Ruthart Fine Steel engraving. Published by Payne C.1850 Unframed.

Wonderful image after Rembrandt Fine Steel engraving. Published by Jones & Co., London. C.1850 Unframed.

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

Very cute small jardiniere to hang in the wall. In Meissen Germany porcelain, circa 1840, Excellent quality. Model snowball, the little bird and the ...

Holy wall font. Bronze. Spain, 17th Century. Small font for holy water designed to be placed on a wall, which has a container decorated with moldings and architectural elements and...

Beautiful etching representing the classic religious subject of the "Adoration of the Magi" by the Baroque painter and engraver Pietro Testa known as il Lucchesino. The print derives from an oil on canvas of the same name now in Montpelier. Identified by the TPL monogram on the right and the dedication signature. Paolo Bellini in the book "L'opera incisa di Pietro Testa" (The engraving work of Pietro Testa) ,published in 1976 by Neri Pozza in Vicenza, identifies this work as an example of the third state of three since, respect to the second state, the address of Gio Giacomo Rossi is added . In the lower margin there is the dedication in Latin to: Most illustrious and most reverend (cardinal) Gerolamo Bonvisi, Cleric of the Apostolic Chamber, D.D. The star on the left often blushes with the light of evil / Kings live here so that they recognize the Lord, / happy face good star shines benignly./ Petrus Testa Pietro Testa (1611–1650) was an Italian High Baroque artist active in Rome. He is best known as a printmaker and draftsman. He was born in Lucca, and thus is sometimes called il Lucchesino. He moved to Rome early in life. One source states he was ejected from the Cortona studio in 1631, soon after joining the workshop. Others state Testa trained under Pietro Paolini or under Domenichino, for whom he worked under the patronage of Cassiano dal Pozzo. He was friends with Nicolas Poussin and Francesco Mola. Some of his etchings, which often include work in drypoint, have a fantastic quality reminiscent of Jacques Callot, or embellishments of his Genoese contemporary Giovanni Benedetto Castiglione and even presciently suggest William Blake. His Sacrifice of Iphigenia appears to have influenced Tiepolo's rendition at Villa Valmarana Ai Nani in Vicenza. His early prints, from the 1630s, were often religious and were influenced by Federico Barocci...

" Ceres and Phytalus" To left, Phytalus, kneeling, receives the fig tree from the goddess Ceres, standing to right, as a reward for his hospitality. Etching and drypoint, circa 1662...

Two beautiful antique and light friezes in gilded wood: one is cm. 40x16,5 x depth 3. The other one is cm. 36 x 30,5 x depth 3,5. To put where you want.

17th century Portuguese Tile Panel Restored Measures: 56cm x 56cm 14cm x 14cm tiles With certificate of authenticity and export issued ...

A fine mythological etching by the great Italian engraver Antonio Tempesta (Florence, 1555 – Rome, 5 August 1630) printed by François L'Anglois or Langlois (12 May 1589 (baptised) – 13 January 1647),also called F. L. D. Ciartres (" Francois Langlois from Chartres"). Beautiful sheet , very sharp . The dimensions below are inclusive of the frame, the print without the frame measures 27x19 cm Antonio Tempesta, also called il Tempestino (1555 – 5 August 1630), was an Italian painter and engraver, whose art acted as a point of connection between Baroque Rome and the culture of Antwerp. Much of his work depicts major battles and historical figures. He was born and trained in Florence and painted in a variety of styles, influenced to some degree by "Counter-Maniera" or Counter-Mannerism. He enrolled in the Florentine Accademia delle Arti del Disegno in 1576. He was a pupil of Santi di Tito, then of the Flemish painter Joannes Stradanus. He was part of the large team of artists working under Giorgio Vasari on the interior decoration of the Palazzo Vecchio in Florence. His favourite subjects were battles, cavalcades, and processions. He relocated to Rome, where he associated with artists from the Habsburg Netherlands, which may have led to his facility with landscape painting. Among his followers was Marzio di Colantonio. Tempesta and the Flemish painter Matthijs Bril were commissioned by Pope Gregory XIII to paint wide panoramas of the Procession to Transfer the Relics of St. Gregory of Nazianzus (1572) for the loggias on the third floor of the Vatican Palace. He completed frescoes in the Palazzina Gambara at the Villa Lante in Bagnaia (1578-1609). From 1579–83, Tempesta participated in the decoration of the Villa Farnese in Caprarola, notably of this villa's Scala Regia. He is also known to have collaborated on frescoes in the Villa d'Este at Tivoli and the Palazzina Gamara at Villa Lante, Bagnaia. He painted a series of turbulent and crowded battle scenes for the Medici. He also completed a series of engravings on outdoor courtly hunting scenes. Tempesta painted frescoes for the Palazzos Colonna, the Doria Pamphilj, and for the Marchese Giustiniani in his Roman palace, where Tempesta collaborated with Paul Bril, and at Bassano di Sutri. He painted a Massacre of the Innocents for the church of Santo Stefano Rotondo in Rome. Tempesta is now best known as a printmaker in etching and engraving. He also left numerous etchings, among them: Plates from the Old Testament; twenty-four plates from the Life of St. Anthony; a set of 150 prints from Ovid’s Metamorphoses; 13 plates on The Labours of Hercules and four plates on respectively The ages of man; The entry of Alexander into Babylon; Diana and Actaon, and The crucifixion (1612). In 1612 he engraved a series of plates under the title "Batavorum cum Romanis Bellum" after designs of the Netherlandish artist Otto van Veen, also known as Vaenius (1556-1629) and court painter to Alessandro Farnese. Van Veen was influenced by the Italian mannerists but had developed his own style anticipating the Flemish baroque of his pupil Peter Paul Rubens. The series consists of 36 numbered engraved plates and illustrates the armed struggle between the ancient Dutch tribes and their Roman oppressors as narrated in Tacitus' Histories. Each plate bears at the bottom an engraved legend in Flemish and in Latin while a detailed explanation is printed on the otherwise blank verso. Plate I, signed 'Ant.Tempesta f. Anno 1611', shows 'Roma' and 'Batavia' in battle dress with respective scenic backgrounds, symbolizing the two nations. Fifteen other plates bear Tempesta's monogram. The plates depict heroic events, sieges, and battle scenes. This historicist work was very popular in its time. Tempesta also drew many designs for tapestries. François L’Anglois or Langlois (12 May 1589 (baptised) – 13 January 1647), also called F. L. D. Ciartres ("François Langlois from Chartres"), was a French print publisher, print seller, engraver, bookseller, art dealer, and painter. He is widely considered to have been the first important print publisher in France and to have contributed significantly to spreading awareness of contemporary artists' work throughout Europe. François L’Anglois was born in Chartres and baptised there on 12 May 1589. He visited Italy on several occasions: Rome in 1613 and 1614 and Genoa, Florence, and Rome again in 1621. On these trips he met Anthony van Dyck and Claude Vignon, who both painted his portrait. He also became acquainted with the engravers Stefano della Bella and François Collignon. It was probably around this time that he acquired the nickname of Chartres (Ciartres in Italian). In 1624–1625 he was associated with Vignon as an art dealer (paintings) and acted as a print collector for Thomas Howard, 14th Earl of Arundel, and Charles I of England...

A mid-18th-century Italian terracotta relief of the Virgin & Child appearing to St Philip Neri In a silver filigree, gilt-bronze and gilt-copper-mounted, lapis lazuli and wood frame. Known as the ‘Apostle of Rome’ due to his labours amongst the sick and poor of the city, Philip Neri (1515-1595) became an influential figure of the Counter-Reformation. Many miracles were attributed to him, and he was beatified by Paul V in 1615. His popularity and place in the folklore of Rome created a demand for his depiction within the church. For example, Carlo Maratta’s painting for San Giovanni dei Fiorentini, the preliminary study for which bears relation to the present composition (Royal Collection, inv. 905553). The fresh and freely modeled handling of the present relief is in the tradition of Giovanni Antonio Mazzuoli’s (1644-1706) small-scale modelli for altarpieces (C. Sisi and G. Gentilini, La Scultura : bozzetti in terracotta, piccoli marmi e altre sculture dal XIV al XX secolo, Florence, 1989, nos. 92-95). Additional information: Origin: Italy Period: Circa 1750, 18th Century Style: Religious, The Virgin and...

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

"Arch dedicated to Hercules" and "Arch dedicated to Bellerophon" Splendid and very rare etchings belonging to a suite of subjects executed for the preparations of the "Celebrations for the entry into Antwerp of the Cardinal-Infante Ferdinando of Habsburg-Spain on 17 April 1635". The sketches for the decorations were all drawn by Sir Peter Paul Rubens and the execution of the etchings was entrusted to Van Thulden. Bottom left: P.P. Rubens. Bottom right: G. Gervatius (who was commissioned to bring together the illustrations of the arches in a special volume) and Van Thulden. Laid paper with watermark - copper imprint - margins - excellent condition. At the end of 1634 Peter Paul Rubens (1577-1640) was invited to make a series of drawings to decorate the city of Antwerp on the occasion of the solemn entry of the infant cardinal Ferdinand of Habsburg (1609-1641) who, after his death of Archduchess Isabella Clara Eugenia (1633), Spanish governor of the southern Netherlands, had been elected as his successor. Generally in these circumstances, the itinerary was articulated through a series of stations and the city - in its main urban hubs - was adorned with decorations and ephemeral apparatuses which, without solution of continuity, covered the facades of the palaces, churches and convents facing the parade axis of the celebratory itinerary, testifying to the participatory role of the various public and private institutions that took part in the feast1. As had happened for the entrances of Charles V in 1520, of Philip II in 1549 and of the archdukes Albert and Isabella in 1599, also in this case, on 17 April 1635, the most important streets and squares of Antwerp were enriched with arrangements: temporary altars, four scenarios, a portico and large triumphal arches built in wood, over twenty meters height, decorated with paintings, sculptures and allegorical scenes. The references to the ancient alluded in this case to the greatness of the Habsburgs and to the merits of Ferdinand for the victory obtained over the Protestant armies of Sweden and their German allies. The choice to use the triumphal arch has its roots in the "city of the popes" and must be read as a connection with the triumphal and modern arches, with Rome and with the "possession" ceremony, placing the emphasis on its centuries-old use . In the elaboration of the drawings and sketches Rubens proved to be a true connoisseur of architecture, but what is most surprising about the artist is the casual use of architectural language and fidelity to sixteenth-century Roman models. In order for the memory of these works to be perpetuated over time, some artists were commissioned to etch the ephemeral apparatuses and, under the guidance of the painter Theodor van Thulden...

A beautiful pair of burin engravings depicting "Saint Bernardo degli Uberti" and "Saint Hilary of Poitiers" two of the patron saints of the city included in the base of the cupola ( dome ) of Parma cathedral frescoed by Antonio Allegri known as Correggio (Correggio, August 1489-Correggio 5 March 1534) between 1524 and 1530. Admirable work by the great master in which his genius as a forerunner of the Baroque is fully seen. In 1642 Giovanni Battista Vanni etched a series of fifteen plates from Correggio's frescoes. Giovanni Battista Vanni was born in Pisa around 1599; he studied successively under Jacopo da Empoli, Aurelio Lomi, and Matteo Rosselli, and then became a disciple of Cristofano Allori. He is better known as an engraver than as a painter. From 1624 to 1632, he lived in Rome, then returning to Florence after visiting Venice. In addition to the series of prints...

Wonderful image after Rembrandt. Fine steel engraving. Published by Fisher, London. circa 1840 Unframed.

Wonderful print of Sir Thomas Fairfax Copper-plate engraving by Engleheart after Bowers Published by Edward Jeffrey. Dated 1808 Unframed. .

17th Century Portuguese tile panel. Restored 56cm x 56cm 14cm x 14cm tiles 17th Century Shortly afterwards, these plain white t...

17th century Portuguese Tile Panel restored 56cm x 56cm 14cm x 14cm tiles With certificate of authenticity and export issued by the Dir...

Wonderful image after Rembrandt Fine Steel engraving. Published by Jones & Co., London. C.1850 Unframed.

'Sea Garden' panels in plaster by British Master craftsman Geoffrey Preston MBE. The designs for this pair of decorative panels spring from the series of drawings the artist made for the The Goring...

Pair of decorative 'Flower Garden' panels in plaster by British Master craftsman Geoffrey Preston MBE. The designs for these spring from a series of drawings in one of the artist's sketchbooks. The decoration was modelled in clay onto a clay base, using fingers, thumbs and small boxwood tools. The clay base enabled Preston to draw into the background, as well as build up from it, which gives a greater depth and emphasis to the modelling. A silicon mould was made from the completed models, and from this plaster casts can be taken. He uses Herculite No 2 plaster with burlap (hessian) and timber lathes to reinforce. Each pair is cast to order and signed and numbered on the reverse. The 'Flower Garden' panels are original works. Preston's aim is to use the fluid character of clay to make poetry in light and shadow in plaster. There is a strong influence of flowers and plant forms in his work, often in the context of architectural elements. He is conscious of proportion and the language of gesture, which is demonstrated in the flowing nature and harmony evident in his work. Geoffrey Preston MBE is a Master of traditional plaster-relief techniques who draws on eighteenth-century decorative art and sculpture, but combines it with his contemporary eye for design. He cites Giacomo Serpotta of Sicily and Egid Qurin Asam of Bavaria as two of the greatest influences on his work, both of whom stretched the boundaries of what people thought possible to sculpt in plaster during the Late Baroque period. In addition, he admires painter Rex Whistler and wood engravers, Charles Tunnicliffe and Joan Hassall...

17th Century Portuguese Tile Panel. Restored 56cm x 56cm 14cm x 14cm tiles With certificate of authenticity and export issued by the Di...

Important oil on panel by the great Dutch artist Philips Wouwerman (also Wouwermans) (1619 – 1668) a painter of hunting, landscape and battle scenes....

Wonderful image after Rembrandt Fine Steel engraving. Published by Jones & Co., London. C.1850 Unframed.

17th Century Portuguese Tile Panel Restored 56cm x 56cm 14cm x 14cm tiles With certificate of authenticity and export issued by the Dir...

Long Italian antique frieze in silvered copper on wooden base. It is no longer easy to find these ancient friezes: this is very decorative and can be hu...

We offer a very interesting work of art, this ,s an excepcional Italian Baroque Oil /canvas , showing a Rubens and Van Dyck portrait, teacher and student together !!! Peter Paul Rub...

Italian antique frieze in hand-carved wood and gilded gold leaf. Very rare. (See my published ancient friezes). You can hang it on the headboard, on a...

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...

Carved giltwood wall torchere candle holder, Italy, 19th century-1930s Hand-carved gold gilt wood candlestick sconce with wrought iron details. This w...

Wonderful image after Rembrandt Fine steel engraving. With a highly decorative border. Published C.1850 Unframed.

Rare wooden antique garland from the beautiful Val Gardena, authentic '700 period - May be an overdoor , over mirror or over a padded headboard. M/1523.

Niche. Gilded and polychrome pine wood. Spain, 17th century. Niche made of carved and gilded pine wood, decorated with moldings, a venerated shape and plant elements in the upper p...

Gorgeous blue hand painted Baroque cherub or angel 18th century style Portuguese ceramic tile/azulejo The tile painted in cobalt blue over wh...

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

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

Gorgeous blue hand painted Baroque cherub or angel 18th century style Portuguese ceramic tile or azulejo This tile painted in blue over white in ...

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

Large antique gilded frame. finely carved in wood and golden with fine gold. circa 1900. measures: 120x105 and 77x64 cm good condition.