Baroque Decorative Art

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

Important 19th Century Italian Parade Plate Polychrome ceramic, with a wide brim, short frill, and a wide base. Reverse with ring support. Decoration on the rim with harpies and fan...

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.

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

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

Unknown Flemish Artist, Belgium 18th century, in the right part of the painting the artist represented a man sitting in front of a tavern. He is surrounded by Delft baroque earthenware pitchers and plates. The right side of the painting shows different types of birds, among them chicken, a swan, ducks and a peacock. The painter was here definitely inspired by the 17th century painter Melchior de...

Pair of 17th Century Gilt silver framed saints. Silver saints are draped in period clothing and holding a book, against a red fabric background with ...

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.

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 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...

This beautiful pottery charger is is decorated with a woman carrying a basket of flowers on her head. Vividly painted in yellows, greens, and blues. Condition is very good, does have minor chips commiserate with age and use. Back is signed Vincent Garnier...

AMAZING PLATE MONTELUPO 17th Century Round earthenware bowl with contours on a pedestal, polychrome decoration of a soldier in a frame of floral reserves. Minor restorations. Diame...

Botanical hand-colored engraving after original oil on canvas by botanist Basilius Besler (German, 1561-1626), "Fructus Artischochi", pl. 25 from "Hortus Eystettensis...

Smaller size with embossed decoration.

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.

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...

This beautiful maiolica pottery charger is from Montelupo, Italy and is boldly decorated with a soldier walking, carrying a tool of the day. Vividly painted in yellow, green, and blu...

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

"Saul with the Pythoness Evoking the Shadow of Samuel". Beautiful oil on Canva, work of the English school of the entourage of Benjamin West. This oil on canvas represents a bibl...

Beautiful Tuscan Ceramic Plate 17th Century with a deepened centre, painted with a biblical scene, landscape and architecture, glazed on the underside, described and marked. Diamete...

Our Lady of the Assumption Triptych Italian, 19th Century in ebonized wood with brass applications with an enamel plaque in the center representing t...

Exceptional fragment of a baroque altarpiece in carved and gilded wood. The technique used in the conception of this piece is exceptional, the different elements have been devastated...

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...

A Venetian opal glass plate from the early 18th century with stunning luminescent qualities. An epitome of Renaissance and Baroque Venetian cult...

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

A stunning and large scale Italian 18th century Baroque period Giltwood wall decor panel. At the center of this very decorative panel is a protruding central medallion with carved fo...

Ancient 17th century gilded wooden frieze, once used as a candlestick; now it bears a branch of madrepore cm.35 x 24. ref. O/2803.

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 Massimo Popper Plate, 1911/1914, 20th Century Pompous polychrome ceramic "Marguerite" with a wide brim, short frill, and wide base. The rim is decorated with metopes and t...

Musical automaton picture clock by Xavier Tharin, c. 1860 Paris, hand-colored lithographed scene depicting a Mediterranean harbor scene with abbey, ...

Large antique Baroque Supraporte, circa 1760. Richly decorated, hand-carved and set in gold. The pendant is extremely rare and old. (V-149).

A beautiful Italian Provincial or Renaissance style hand painted blue, green, cream, and yellow faience pottery wall plate featuring a male portrait, figurative dragons, and floral d...

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...

A Fine Pair of Framed Porcelain Plaques Of Tavern Scenes By Jean-Pierre Feuillet The hand-painted, glazed & fired pair of rectangular plaques of tavern genre scenes in the manner of...

A stunning vintage Hong Kong brass tray, made in the 1940s. Handcrafted and hammered by hand, this unique treasure boasts a rich patina that tells stor...

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...

A monumental oil on canvas in The manner of the Old Masters showing a maiden to be deflowered. This palatial oil on canvas from the late 19th or early 20th century is simply stunning...

A Fine Pair of Framed Porcelain Plaques Of Tavern Scenes By Jean-Pierre Feuillet The hand-painted, glazed & fired rectangular plaques of tavern scene, one depicting a friendly card ...

17th Century Italian Flemish oil on canvas painting depicting the Adoration of the Magi. Early Flemish painting was contemporary to the development of the early Renaissance in Italy. In the middle of the 15th century Italy...

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

Set of five German Engraved and parcel Gilt Mirror Panels, Each engraved mirrored panel portrays a different character with hand painting and gilt detailing.

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 ...

A fine Italian 19th century oil painting on canvas "La Madonna della Seggiola" after Raphael (Raffaello Sanzio da Urbino 1483-1520) The circular canvas depicting a seated Madonna holding an infant Jesus Christ next to a child Saint John the Baptist, all within a massive carved gilt wood and gesso frame (all high quality gilt is original) which is identical to the frame on Raphael's original artwork. This painting is a 19th Century copy of Raphael's Madonna della Seggiola painted in 1514 and currently exhibited and part of the permanent collection at the Palazzo Pitti, Galleria Palatina, Florence, Italy. The bodies of the Virgin, Christ, and the boy Baptist fill the whole picture. The tender, natural looking embrace of the Mother and Child, and the harmonious grouping of the figures in the round, have made this one of Raphael's most popular Madonnas. The isolated chair leg is reminiscent of papal furniture, which has led to the assumption that Leo X himself commissioned the painting, circa 1890-1900. Subject: Religious painting Measures: Canvas height: 29 1/4 inches (74.3 cm) Canvas width: 29 1/4 inches (74.3 cm) Painting diameter: 28 1/4 inches (71.8 cm) Frame height: 57 7/8 inches (147 cm) Frame width: 45 1/2 inches (115.6 cm) Frame depth: 5 1/8 inches (13 cm).   Raffaello Sanzio da Urbino (Italian, March 28 or April 6, 1483 - April 6, 1520), known as Raphael, was an Italian painter and architect of the High Renaissance. His work is admired for its clarity of form, ease of composition, and visual achievement of the Neoplatonic ideal of human grandeur. Together with Michelangelo and Leonardo da Vinci, he forms the traditional trinity of great masters of that period. Raphael was enormously productive, running an unusually large workshop and, despite his death at 37, leaving a large body of work. Many of his works are found in the Vatican Palace, where the frescoed Raphael Rooms were the central, and the largest, work of his career. The best known work is The School of Athens in the Vatican Stanza della Segnatura. After his early years in Rome much of his work was executed by his workshop from his drawings, with considerable loss of quality. He was extremely influential in his lifetime, though outside Rome his work was mostly known from his collaborative printmaking. After his death, the influence of his great rival Michelangelo was more widespread until the 18th and 19th centuries, when Raphael's more serene and harmonious qualities were again regarded as the highest models. His career falls naturally into three phases and three styles, first described by Giorgio Vasari: his early years in Umbria, then a period of about four years (1504–1508) absorbing the artistic traditions of Florence, followed by his last hectic and triumphant twelve years in Rome, working for two Popes and their close associates. Raphael was born in the small but artistically significant central Italian city of Urbino in the Marche region, where his father Giovanni Santi was court painter to the Duke. The reputation of the court had been established by Federico III da Montefeltro, a highly successful condottiere who had been created Duke of Urbino by the Pope - Urbino formed part of the Papal States - and who died the year before Raphael was born. The emphasis of Federico's court was rather more literary than artistic, but Giovanni Santi was a poet of sorts as well as a painter, and had written a rhymed chronicle of the life of Federico, and both wrote the texts and produced the decor for masque-like court entertainments. His poem to Federico shows him as keen to show awareness of the most advanced North Italian painters, and Early Netherlandish artists as well. In the very small court of Urbino he was probably more integrated into the central circle of the ruling family than most court painters. Federico was succeeded by his son Guidobaldo da Montefeltro, who married Elisabetta Gonzaga, daughter of the ruler of Mantua, the most brilliant of the smaller Italian courts for both music and the visual arts. Under them, the court continued as a centre for literary culture. Growing up in the circle of this small court gave Raphael the excellent manners and social skills stressed by Vasari. Court life in Urbino at just after this period was to become set as the model of the virtues of the Italian humanist court through Baldassare Castiglione's depiction of it in his classic work The Book of the Courtier, published in 1528. Castiglione moved to Urbino in 1504, when Raphael was no longer based there but frequently visited, and they became good friends. He became close to other regular visitors to the court: Pietro Bibbiena and Pietro Bembo, both later cardinals, were already becoming well known as writers, and would be in Rome during Raphael's period there. Raphael mixed easily in the highest circles throughout his life, one of the factors that tended to give a misleading impression of effortlessness to his career. He did not receive a full humanistic education however; it is unclear how easily he read Latin. Early Life and Works His mother Màgia died in 1491 when Raphael was eight, followed on August 1, 1494 by his father, who had already remarried. Raphael was thus orphaned at eleven; his formal guardian became his only paternal uncle Bartolomeo, a priest, who subsequently engaged in litigation with his stepmother. He probably continued to live with his stepmother when not staying as an apprentice with a master. He had already shown talent, according to Vasari, who says that Raphael had been "a great help to his father". A self-portrait drawing from his teenage years shows his precocity. His father's workshop continued and, probably together with his stepmother, Raphael evidently played a part in managing it from a very early age. In Urbino, he came into contact with the works of Paolo Uccello, previously the court painter (d. 1475), and Luca Signorelli, who until 1498 was based in nearby Città di Castello. According to Vasari, his father placed him in the workshop of the Umbrian master Pietro Perugino as an apprentice "despite the tears of his mother". The evidence of an apprenticeship comes only from Vasari and another source, and has been disputed—eight was very early for an apprenticeship to begin. An alternative theory is that he received at least some training from Timoteo Viti, who acted as court painter in Urbino from 1495.Most modern historians agree that Raphael at least worked as an assistant to Perugino from around 1500; the influence of Perugino on Raphael's early work is very clear: "probably no other pupil of genius has ever absorbed so much of his master's teaching as Raphael did", according to Wölfflin. Vasari wrote that it was impossible to distinguish between their hands at this period, but many modern art historians claim to do better and detect his hand in specific areas of works by Perugino or his workshop. Apart from stylistic closeness, their techniques are very similar as well, for example having paint applied thickly, using an oil varnish medium, in shadows and darker garments, but very thinly on flesh areas. An excess of resin in the varnish often causes cracking of areas of paint in the works of both masters. The Perugino workshop was active in both Perugia and Florence, perhaps maintaining two permanent branches. Raphael is described as a "master", that is to say fully trained, in December 1500. His first documented work was the Baronci altarpiece for the church of Saint Nicholas of Tolentino in Città di Castello, a town halfway between Perugia and Urbino. Evangelista da Pian di Meleto, who had worked for his father, was also named in the commission. It was commissioned in 1500 and finished in 1501; now only some cut sections and a preparatory drawing remain. In the following years he painted works for other churches there, including the Mond Crucifixion (about 1503) and the Brera Wedding of the Virgin (1504), and for Perugia, such as the Oddi Altarpiece. He very probably also visited Florence in this period. These are large works, some in fresco, where Raphael confidently marshals his compositions in the somewhat static style of Perugino. He also painted many small and exquisite cabinet paintings in these years, probably mostly for the connoisseurs in the Urbino court, like the Three Graces and St. Michael, and he began to paint Madonnas and portraits. In 1502 he went to Siena at the invitation of another pupil of Perugino, Pinturicchio, "being a friend of Raphael and knowing him to be a draughtsman of the highest quality" to help with the cartoons, and very likely the designs, for a fresco series in the Piccolomini Library in Siena Cathedral. He was evidently already much in demand even at this early stage in his career. Influence of Florence Raphael led a "nomadic" life, working in various centres in Northern Italy, but spent a good deal of time in Florence, perhaps from about 1504. Although there is traditional reference to a "Florentine period...

Salvator Rosa, the Italian Baroque painter was also a significant etcher and printmaker. Rosa’s is series of small prints of soldiers was very popular and influential. This etching i...

An impressive and colorful pair of Italian 18th century Baroque st. patinated wood and Giltwood wall brackets. Each wonderfully carved wall bracket displays a stunning faux marble plinth below an impressive patinated wood Rocaille scrolled reserve. The scrolls protrude and follow the shape of the patinated green backplates accented with mottled patinated wood bands. At the top front of each wall bracket is an exceptional and large scale ebonized wood foliate reserve below the original patinated wood display shelves.

A very large hamered copper wall plate depiction Saint Martin on horse in relief. Signed A Louis. Early 20th century. Measures: Diameter 75 cm.

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...

This original 18th century silver gilded over brass frame is elaborately embossed and chiseled. The central oval is surrounded by rocaille and volute motifs typical of the Baroque pe...

An extremely decorative and large scaled Roman 18th century Baroque family coat of arms in White Carrara Marble. The crest with is centered by a ca...

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

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

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...

A very fine and Rare Russian mid-19th century Baroque style polychromed and gilded Religious Orthodox Christian Icon on a wooden panel with fi...

O/7283 - Wonderful Venetian antique angels in carved and gilded wood, with particularly expressive faces - That's a very great quality and an interesting size, rare to find.. Wh...

Serpent & Galleon, Ink on Paper, in an 18th Century GiltWood Frame.

Giltwood Framed Limoges Enamel after François Boucher 'The Bird Catchers' France, Circa 1880s Framed in an elaborate hand carved pierced and giltwood t...

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...

Salvator Rosa last 17th century giltwood frame. Internal measurements cm 32 x 41 Pure example of Italian Salvator Rosa gild wood frame of 17th century. "Salvator Rosa" is the fa...

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

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