Baroque Decorative Art

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...

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

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

Custom Wooden Framed Map of 1700's Hundreds Paris, France. This reprint of the early antique map of the capital and most populous city in France has been deckled over a neutral col...

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 Domenichino Fine Steel engraving. Published C.1850 Unframed.

Smaller size with embossed decoration.

With a central pomegranate surrounded by a gadrooned border. The border with stamped decoration.

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

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...

A Pair of continental paintings, Depicting allegories, two of the Continents the Americas and Eurasia. 19th Century ( second half ) MEASUREMENTS: Frame 63.75" H x 13.25" W x 1.75" ...

A Pair of 19th Century tall painted panels, oil on canvas, finely painted with flowers, folager and scolly, framed. Circa 1860. England. MEASUREMENTS: Frame 106" H x 33.25" W x 2.5...

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...

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

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...

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...

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.

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...

Decorate a wine cellar with this elegant pair of antique wall plaques. Created in France, circa 1880, and octagonal in shape, each charger...

17th century Italian hand-painted ecclesiastical architectural element adorned with carnelian pebbles, gold-plated crystals, blue and yellow raw agate, and b...

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...

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 ...

Wonderful image of Job Photogravure Published C.1900 Unframed

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.

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...

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 ...

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.

Virgen of the Lamb, French Limoges Enamel Portrait Plaque 1910s

A very decorative pair of Italian 18th century Baroque st. Giltwood wall decor. Each pierced wall decor has a central double acanthus leaf with two 'C' and 'S' scrolled foliate branc...

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 ...

A very decorative true pair of Italian 18th century Baroque st. faux painted Porphyry wall decor. Each wonderful carved architectural element is in the shape of an oil lamp and are r...

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

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

This 18th-century panel, crafted from nine earthenware tiles, showcases an intriguing depiction of a bird in a cage. The delicate white tiles contrast beautifully against the white b...

An impressive early 17th century wood relief carving of the Three Divine Virtues After Jan Pietersz Saenredam and Hendrik Goltzius First quarter of the 17th century; Northern Netherlands Approximate size: 35.5 x 50 cm (without frame); 53 x 67 cm (with frame) The present carving, of Flemish origin and from the first quarter of the 17th century, was executed during the Golden Age of Dutch art. The relief depicts the figures of Pietas, Caritas and Fides: the divine virtues of Hope, Charity and Faith. Each of the Virtues is articulated with exceptional care and the skill of a talented hand. The composition is bursting with energy, emphasized by the active putti surrounding its central protagonist and the emergence of the figures in the foreground, silhouetted against a cityscape with the upper horizon framed by clouds and rays-of-glory. The relief’s design is indebted to late 16th century Mannerist influences shown in the expressive postures of the figures and the billowing hair of Charity. Other Flemish artists approached this theme like the painters, Maarten de Vos, Maarten van Heemskerck, et al. However, our particular carving is an amalgam of three individual compositions engraved by Jan Pietersz Saenredam in 1601, and based on the designs of his mentor and long-time collaborator, Hendrik Goltizius (presumably following inspired Latin prose conceived by the Haarlem Humanist, Cornelis Schonaeus). The relief is set in an elaborate checkered, wood-inlaid frame but its scale and shape suggest it probably once formed part of an elaborate Beeldenkast or impressive Dutch oak cupboard...

A fine Italian 19th century oil painting on canvas "La Madonna della Seggiola" after Raphael (Raffaello Sanzio da Urbino 1483-1520). The circular painted canvas depicting a seated Ma...

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

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

A very fine Italian 18th century oil on canvas "Madonna and Child" after Giovanni Lanfranco (Italian, 1582-1647). The young Virgin Mary attending to...

Pair of framed antique 17th century Roman Catholic antiphonal music sheets, hand drawn on vellum with illuminated capitals. Measures: 28.25” x 1.75” ...

"Oil on canvas ""The Lamentation"" painted after the original (circa 1629) by Sir Anthony van Dyck. This rendition of the burial of Jesus Christ shows ...

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...

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...

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.

" 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...

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...

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...

This beautiful 11.5 pottery charger is from Montelupo, Italy and is boldly decorated with a soldier on horseback. Vividly painted in yellow, green, and blue. Condition is very good, ...

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...

19th century Italian hand hammered painted and parcel gilt metal panel. The panel is decorated with gold leaf flowers swirling throughout.

19th Century heavy French bronze relief plaque with three winged dancing angels. Wonderful patina.

This beautiful pottery charger is from Montelupo, Italy and is hand painted with two soldiers sword fighting. Vividly painted in yellow, green, and blue. C...

A very fine Italian 17th century oval oil on canvas "Head of Christ Crowned with Thorns" Circle of Pierre Mignard (French, 1612-1695) within...

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...