Baroque Paintings

A finely painted early 19th century Russian Orthodox icon, Saint Nicholas of Myra, circa 1820. This traditional Russian icon is finely painted with egg tempera paint and gesso on a l...

After Anthony van Dyck (1599–1641) Portrait of a Gentleman Oil on board, 19th century Dimensions: 54 × 44 cm Framed: 65 × 55 cm This high-quality copy after Anthony van Dyck faithfu...

An intimate and beautifully composed devotional scene painted in the circle of the great Flemish Baroque master Peter Paul Rubens, depicting The Holy Family with Saint Anne. The comp...

This is a delightful antique Spanish oil on canvas painting after Bartolome' Esteban Murillo, depicting two peasant boys eating grapes and melon, Circa 1780 in date.  It features a ...

17th century Italian oil painting of Mary surrounded by cherub angels framed with a 17th century Italian pediment and fluorite, pyrite, chalcedony, jasper, and barite natural specime...

Early 18th century Italian Venetian inland painting, a large size oil on canvas Baroque mountain landscape with stream, bridge, waterfall, wayfarers and a village in the background. The woodland is animated by figures, a caravan with horsemen fishermen. This monumental Italian Baroque landscape painting has a strong impact and an excellent composition balance, as it depicts in the center the luminous perspective of a fortified village, whose side wings consist of two mountain rocks with dark wooded vegetation crowded by characters, horsemen, paths, streams.On the left side, with respect to the observer, there is a path that runs alongside a stream that flows into a waterfall in the center of the composition. from a caravan of travelers on foot and on horseback traveling along it in both directions: going up the slope on the mountainous coast you can see a church and a village near the top. The right part of the painting depicts a more sparse and dry vegetation, painted in the chromatic tones of ocher, inside of which there are dead plant, dry branches and a smaller number of figures on the rugged mountain. The iconographic inspiration of this wooded representation seems to be in the large trunk of the withered conifer in a central position, which represents a dead tree, as a? reminder of the transience of everything in life, whose phases are summarized in the two mountainous coasts. In the background a village painted in light and soft blue colors, in stark contrast to the previous scene, seems  to reassure and project us into a future season. With a suggestive theatrical effect, more than 250 cm wide, this Baroque Italian painting comes from a private collection of Milan, the canvas has been lined and shows minor painting retouches at a horizontal seam of the canvas. It is unframed, it has just a wooden profile covering the canvas edge. It is an antique Italian landscape, the perfect opportunity to make a statement. Get the perfect size painting for a great living room, to create that eye-catching focal point. You can make an impact with a single large work by hanging this early 18th century Italian Baroque painting...

19th century still life painting after Pieter Claesz (1597-1660) Dutch. This outstanding 19th century oil painting on copper shows an amazing intuitiv...

Italian School, 18th century. A masterful example of 18th-century Italian School artistry, this Old Master landscape painting captures the sublime beauty of an idealized European co...

Fine Pair of 18th Century French Religious Devotional Oils This exquisite pair of oil on canvas paintings explores the central themes of divine intercession and monastic devotion. T...

19th century Italian still life painting executed in oil on canvas. The composition features fruit, gourds, and a bird arranged in a traditional still life format. The painting shows...

This 17th Century Italian Baroque painting, executed in oil on copper, depicts the Crucifixion of Christ with remarkable depth and dramatic composition. Christ is shown on the cros...

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

A circa 1725 oil on canvas portrait of Louis George Simpert, as Hereditary Prince, the future Margrave of Baden-Baden (Deutsch: Ludwig Georg Simpert, Markgraf von Baden-Baden) portrayed one-quarter length in powdered wig and wearing ceremonial armor and crimson sash newly fitted in a period molded giltwood frame with bead-and-reel inner border from the Eli Wilner collection. Canvas measures 24.5" x 19.25". A related, but later portrait of circa 1735, attributed to the same unknown painter, is held in the collection of Lichtenthal Abbey, Baden-Baden. Biography: Louis George or Ludwig Georg Simpert, Margrave of Baden-Baden, born June 7, 1702 at Ettlingen Palace was the son of Louis William, Margrave of Baden-Baden and his wife, Princess Sibylle of Saxe-Lauenburg. Hereditary Prince of Baden-Baden from birth, at the death of his father in 1707, he succeeded as Margrave of Baden-Baden at the age of four. As such, his mother was regent of Baden-Baden until he reached his majority on 22 October 1727 at the age of 25. He married Maria Anna of Schwarzenberg April 8, 1721 at Český Krumlov Castle. The couple were the parents of four children, of whom only one survived infancy. After the death of the first Maria Anna in 1755, he married the Princess Maria Anna Josepha of Bavaria on July 10, 1755; the daughter of Charles VII, Holy Roman Emperor and his Austrian wife Archduchess Maria Amalia. The second marriage remained childless. Due to his passion for hunting instead of military service, he became known as "Jägerlouis", "hunter Louis", a play on his father's nickname of Türkenlouis ("Turk Louis") due to his famous heroics against the Turkish army at the Siege of Vienna...

* Florentine painter, 17th century "THE ANNUNCIATION" Oil on canvas, 69cm x 100.5cm Good condition This painting depicts the biblical moment of the Annunciation, where the angel Gabr...

C. Maratta went to Rome in 1636 and became an apprentice in the Studio of Andrea Sacchi. Pope Alexander VII commissioned many paintings from him. Maratta’s paintings of the later 165...

SPANISH SCHOOL FROM THE LATE 17TH CENTURY. "Saint Michael the Archangel" Oil on canvas. 104x82 cm. Relined. Frame in molded and gilded wood. good condition

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 Large and Impressive Early 20th Century Oil on Canvas "Madonna and Child" After Bartolomé Esteban Murillo (Spanish, 1618-1682) depicting a seated Virgin Mary with a baby Jesus Chri...

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...

17th century Italian old master painting Madonna and Child with St. Anne and St. John the Baptist. Important Tuscan School Old Master painting in oil on a hand shaved wood panel. ...

Rare Portrait of Elizabeth Petrovna of Russia (1709-1762) 18th Century Signature Signed by court painter Magnificent oil on canvas depicting Empress Elizabeth Petrovna (1709-1762),...

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...

Portrait of Maria Theresa of Austria, Queen Consort of France, 17th Century Oil on canvas, European School, ca. 1660–1680, late 17th century Oil on canvas depicting Maria Theresa of...

This 18th century Italian painting captures one of the most iconic biblical moments: the Adoration of the Magi. The mysterious travelers kneel in reverence before the Infant Jesus, ...

18th Century Portrait of a Noblewoman in period attire, Oil on Canvas later mounted on board. Woman is dressed in richly detailed period attire and gazes confidently outward. A delic...

PIETER CLAESZ (Burgsteinfurt, h. 1597-Haarlem, 1660) “Bodegón” Óleo sobre lienzo. Reentelado Medidas: 106 x 136 cm. (lienzo); 121 x 150 cm. (marco) Adjunta estudio realizado por Dr M...

Portrait of a German Princess with a Sash and Insignia of a Knightly Order European School, 18th Century " German Princess " Large-format oil on canvas depicting a German princess,...

Rare Baroque portrait of a Spanish monk, School of Jusepe de Ribera, C.1690. The painting is presented in a later frame. The work carries an old ink inscription “Ribera” on the bac...

17th Century Large Old Master Battle Scene Painting. Flemish School, circa 1610 - 1680. Oil on canvas painting depicts a dynamic battle scene fi...

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...

Caravaggist Artist active in Naples, first half of the 17th century. "Saint Jerome Writing" Oil on canvas, 121 x 98 cm Framed Private collection, Rome Good condition A Caravaggesqu...

Royal Delft Collectors Portrait plate vintage handpainted Dutch Delftware - earthenware Style: Baroque, Vintage, Antique, Rustic Large blue and white cabinet plate - wall plaque Depi...

Original oil on panel of Saint offering the Child, by an unidentified artist. --This painting represents St. Anthony of Padua. The scene is one that is often chosen to represent ...

Beautiful large canvas landscape featuring peacock, owl, hawk, and a variety of birds landscape. Vivid colors. Signed L. Cassidy. Wonderfully framed. Curbside to NYC/Philly $450

Peruvian Cuzco School Oil on Canvas of the Archangel Michael defeating Satan 18th Century. Later Frame. Wear commensurate with age. The Cuzco or Cusco school was a Roman Catho...

This 18th-century Flemish oil on wood painting depicts the moment of adoration of the Child Jesus, in the loving arms of the Virgin Mary. Kneeling at their feet is the young Saint J...

This distinguished 19th-century portrait depicts an elegantly dressed lady, captured with remarkable refinement and quiet dignity. Her composed expression, finely rendered features, ...

Old Master Oil on Canvas Painting depicting "The Adoration of the Magi".. This painting is one of the most revered subjects in Christian art. Painting features multiple figures i a ...

A 19th century copy of a painting by Claude Lorrain titled, " Harbor with the Villa Medici". Early morning light filters over a wholly imaginary scene, an exquisite example of the ...

Italian School 17th century "Christ in the Temple" Oil/canvas/double, 106 x 118 cm. good condition

Italian Oil Painting on Canvas in a Giltwood Florentine Frame 18th Century This finely painted Italian oil on canvas, presented behind glass, dates from the 18th century and is belie...

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...

Mary Magdalene the Penitent oil painting on canvas, of Italian, Lombard origin, dates from the 17th century and is unframed, has been lined and restored to a new frame; this ancient...

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...

This large, old master still life painting is a perfectly balanced composition of fruit and game birds. In the foreground a rabbit is stretched out. A copper kettle and a basket are ...

Portrait of Françoise-Marie d'Orléans, Duchess of Orleans, 18th-century French school Oil on canvas depicting Françoise-Marie d'Orléans (1677–1749), the legitimized daughter of King...

Alberto Carlieri (Rome 1672-1720) "Architectural capriccio with the preaching of Saint Paul in the Areopagus of Athens" Oil on canvas, measures with...

Important Portrait of the Princess of Ruspoli, began 18th Century, Italian School Began 18th-century oil on canvas depicting the Princess of Ruspoli, a member of one of the most in...

Amazing Flemish Master 17th Century "Saint Jerome" Oil/canvas/double, 82 x 64 cm. good condition

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 Madonna holding an infant Jesus Christ next to a child Saint John the Baptist, all within a massive carved two-tone gilt wood, gilt-patinated and gesso frame, 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 Painting diameter: 28 inches (71.1 cm) Frame height: 55 1/8 inches (140 cm) Frame width: 46 inches (116.8 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...

An Portrait of a Lady and her Dog, 18th Century, European School The oval painting within its original oak leaf and beaded gilt-wood frame, oil on canvas. Height: 101 cm Width: 85 ...

Angelo Caroselli [attributed to], Saint Sebastian and Saint Irene. 1615-1652 Oil on canvas. 36.5 x 30.5 cm, with frame 45 x 38.3 cm Replica of the oil painting of the same subject ...

Charles d'Agar (Paris 1669-1723 London) A very important pair of oil on canvas portraits from the early 18th Century. Portrait of Cyrill Wyche, half-length, in a red coat and blue ...

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...

Portrait of a Polish Princess, 18th Century Large oil on canvas depicting a Polish princess, executed with the rigor and solemnity typical of 18th-century court portraits. The lady ...

**Set of 3, 19th Century Allegorical Reverse Glass Paintings** This captivating set of **three 19th-century allegorical reverse glass paintings** presents richly detailed narratives imbued with symbolism and classical themes. Each painting is executed in the traditional reverse glass technique, providing a smooth and reflective surface that enhances the vibrant palette and fine detailing. 1. **Painting 1 (Left Panel):** This scene portrays a dramatic encounter, likely a moment of judgment or persuasion, set against a distant landscape. A figure in a flowing blue robe gestures emphatically toward a well-dressed couple, perhaps symbolizing conflict, intervention, or moral decision-making. The background includes a sweeping view of the countryside, with figures in the distance adding depth and context. 2. **Painting 2 (Center Panel):** The central panel features a pastoral scene steeped in allegorical significance. A central figure dressed in red, resembling a shepherd, commands attention under a radiant sunburst. Surrounding characters appear in moments of tension and repose, including a reclining figure and a soldier-like character. This composition evokes themes of guidance, struggle, and divine providence, with the bright sky and natural elements reinforcing the allegorical tone. 3. **Painting 3 (Right Panel):** The final panel depicts an intimate interior scene, with two seated women engaged in conversation, one gesturing emphatically as a standing male figure observes. The setting includes detailed furnishings, such as a writing desk, a red draped curtain, and objects hinting at scholarly or domestic pursuits. This tableau may represent themes of wisdom, counsel, or moral reflection, supported by the characters' thoughtful expressions and elaborate dress. Each painting is framed in its **original dark wooden frame**, complementing the vibrant colors and enhancing their display value. The set embodies the **19th-century European fascination with allegory and storytelling**, making it a significant piece for collectors of reverse glass art...

Portrait of an Aristocratic Lady, oil on canvas, European School, 18th century Oil on canvas depicting a noble lady, dressed in a low-cut red dress and blue cloak. The sobriety of ...

This exquisite oil painting, is a masterful depiction of a pastoral scene that epitomizes the serene beauty of rural life. Likely created in the 17th century, the work surely of Flem...

PAIR of Italian Venetian style (19th Cent) gilt framed oil paintings of canal scenes.

Belgium / 18th century / Painting / wood / Antique / Religious A 18th century painting on wood after a Rubens painting “Adoration of the Magi”. Elegantly encased in a stunning blac...