Baroque Paintings

G. Jouve (18th century) École Nord, France Oil on wooden panel. A dramatic interior composition depicting a rustic surgical procedure taking place in a dimly lit room. A seated man,...

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...

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 ...

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...

An original portrait painting inspired by a masterpiece” Signed by the artist J. Lorraine, this original portrait is inspired by Sir Anthony van Dyck's celebrated Portrait of Marches...

This is a monumental and spectacular 18th century, or possibly early 19th, oil on canvas of the Italian school. The canvas depicts a shepherd serenading a maiden in a wooded glen. B...

A fine and large 19th century oil on canvas after Bartolomé Esteban Murrillo's (Spanish, 1617-1682) Masterpiece "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...

Italian Grand Tour Miniature of the Holy Family, Signed R. Tomassi, Rome, 19th Century Measurements: 3" wide x 4" high (4.5" to top of hanging ring) A finely painted Italian minia...

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...

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...

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

Exceptional large scale portrait painting newly identified as that of Karel van Lynden, Lord of Swanenburg (c. 1707 - 1742) portrayed bewigged and in crimson mantle-enwrapped armor a...

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...

In the style or School of the Important Old Master Guido Reni (Italian, 1575-1642). A stunning Old Master 18th or possibly 17th century Italian Baroque School religious portrait painting...

This is a charming naive painting of a young John Davis, son of Gregory Davis of Norfolk, painted by Bridget Bereners (?). The exquisite quality of the framing is an indication of th...

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...

A late 19th early 20th century Berlin K.P.M. Porcelain Plaque titled "Der Eremit" (The Hermit) After the painting by Salomon Koninck (Dutch, 1609-1659)...

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 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...

18th Century Dutch harbour scene / seascape painting with ships in stormy waters by Jan Verbruggen (1712-1780). Signed 'J.Verbruggen'. Jan Verbruggen and his son Peter were artists,...

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...

FRENCH SCHOOL "Portrait of a Girl with Flowers". Oil on canvas from the 18th century. Relined. Dimensions: 80 x 64 cm Good condition

Oil on canvas, early 19th-century painting, Wedding, Italian school. Painting, oil on canvas depicting a wedding, early 19th-century Italian school, with a beautiful period gilded s...

This is a classic Italian late 17th century floral still life. Although the painting is not signed, it has all of the hallmarks of being created by a master painter. The painting and...

19th C Limoges Enamel of Thomas Francis, Prince of Carignano after van Dyck A exquisite large Limoges enamel of the portrait of Thomas Francis, Prince of Carignano by Anthony van Dyck, 1634. In a finely carved giltwood frame. Unsigned. The original work was created in 1634 painting by Anthony van Dyck, Known as one of the finest equestrian portraits, It depicts Thomas Francis, Prince of Carignano on a horse, as an allegory of his holding the reins of command even in difficult times. The prince is wearing the insignia and red sash of the Supreme Order of the Most Holy Annunciation, conferred on him in 1616 by his father Charles Emmanuel I, Duke of Savoy...

A large antiqued reproduction oil painting after Antoine Watteau. Features an antiqued canvas. Frame: 75.5 cm (29.72 inches) x 66.5 cm (26.18 inches) Canvas: 55.5 cm (21.85 inches) ...

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

17th Century Italian School Oil on Canvas - Soldiers and Travellers Resting by a Rocky Cove The painting carries a plaque with the name of the attributed artist Salvator Rosa (1615-...

This 18th-century Baroque painting presents a tender depiction of The Holy Family with an Angel. Rendered in oil on copper panel, a common technique of that period for its durability...

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, ...

This an absolutely magnificent unique 17th century painting illustrates pirates in the time of Barbary Slave Trade (European slaves were acquired by Barbary pirates...

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

Adolf Constantin Baumgartner Stoiloff (Austrian/Russian, 1850-1924) A fine oil on board painting "Charging Cossack Warriors on Horseback" within an ornate giltwood frame, circa 1890 Born in 1850 in Linz (Austria) Stoiloff died in Vienna in 1924. According to a research of Russian literature, he studied in the 1880s at St. Petersburg Imperial Academy of Fine Arts. He was very well known for his Russian horse...

An imposing religious-themed painting depicts the scene of the "Assumption of the Virgin". The iconography in this 19th-century painting follows the tendencies of Baroqueization and ...

17th century, Italian oil on canvas painting with battle between Christian and Turkish cavalry The oil on canvas painting depicts a battle between Christian and Turkish cavalry. C...

18th Century, Painting with Architectural Capriccio with figures, attributed to Isaac De Moucheron Measures: canvas cm H 108 x L 152; with frame cm H 132 x L 176 x 8 The painting i...

Florentine School, 17th Century, "Young Man with His Lady" Oil on canvas. 64 x 57 cm. With frame, 74cm x 67cm Good condition

Bernhard Keil was among the most distinctive genre painters active in Italy during the second half of the seventeenth century. Born in Helsingør, Denmark, he apprenticed under the Co...

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

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 ...

This antique Baroque period oil on canvas painting, is an authentic 1600s Italian School Allegory of Winter featuring putti and cherubs in a rich still life, and housed in its original golden frame, is a rare masterpiece preserved in prima tela (original first canvas). Sourced directly from an exclusive, historic private villa in Tuscany, this exceptional piece has been meticulously preserved by the same noble family for generations. Emerging on the art market for the very first time, this late 17th-century canvas represents a premier acquisition from The Tuscan Villa Collection, offering absolute authenticity and prestigious provenance. Design, Details & Attribution The composition is a sophisticated allegorical study executed with the dramatic chiaroscuro and emotional depth characteristic of the late Italian 1600s. Four masterfully proportioned putti (cherubs) gather around a small fire, their flesh tones illuminated by a theatrical play of light against a deep, crepuscular Italianate landscape. To the right, a monumental Baroque urn overflowing with a finely detailed floral still life anchors the scene, symbolizing the cycles of nature. The dense brushwork, rich earthy palette, and expressive anatomical rendering point directly to a highly skilled hand active in the Italian Baroque School circa 1680-1710. Stylistically, the artwork shares strong affinities with the classicizing Baroque circle of Carlo Cignani and central Italian genre painters of the era. The canvas remains housed in its spectacular coeval original frame, which retains its genuine gold leaf gilding and a magnificent, deep, age-earned patina. Styling & Placement With its grand visual presence and historical importance, this authentic 17th-century canvas serves as an elite statement piece for high-end interiors. The Classical Anchor: Perfectly suited above an early 18th-century walnut console table or credenza in a formal dining room, entryway, or library, where the golden frame and warm tones create an immediate focal point. The Curated Contrast: Highly effective when placed in a minimalist, contemporary space. The juxtaposition of a genuine Baroque masterpiece against clean, modern architecture offers profound historical depth. Collection Harmony: This painting communicates beautifully with fine period furniture, particularly Biedermeier walnut pieces or Italian marquetry chests...

An Exquisite Italianate Arcadian Landscape Oil Painting This late 18th-century Italianate classical landscape oil painting beautifull...

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...

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...

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 ...

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...

Jan van Kessel I and Jan van Balen, Still life with flowers, butterfly, trompe l'oeil frame and sacred scene, first half of the 17th century Signed I. V. Balen Oil on panel. Size: 68...

Francesco Aviani (Italy - Venice, 25-11-1662 / 1715) att. Couple of paintings depicting Capricci Oil on canvas, 135 x 183 cm, without frame The two large and fine paintings depict two illusionistic architectural renderings, with views of colonnades and arched buildings, animated by figures. The compositions are characterized by the harmony with which the painter introduces the sumptuous architectural monuments, the mirrors of water, the buildings in the distance and the views of the landscape. Dominates with a color on the tones of brown and ochre that stands out on the blue sky, marked by some cloud of steam. The insertion of the figures to enliven the architectural views also balances with the set. The Capriccio, an artistic genre that has made its way into Italian painting since the 17th Century, is characterized by the representation of fantastic architectures or prospective inventions, sometimes combined with elements drawn freely from reality. The two paintings are an example of this type and they are a very interesting and Fine artwork. The remarkable pictorial quality emerges both from the composition of the ensemble and from the way in which the artist describes the views with great attention to detail, highlights and refined, perfectly realistic, chiaroscuro. The same must be recognized for the figures: these are described with a wise brushstroke, quick and quick touches give the dynamism of the moment that is captured, as if time had stopped to show and narrate what is happening. The painting on the right represents a large Baroque building in stone and paved with marbles, two floors, with moving façade, large columns with corinthian columns, a large portal with a staircase with large footsteps, a balustrade with string, from which some figures appear, and two equestrian monuments in bronze. The sumptuous building overlooks a large POOL of water, with a gushing fountain, around which some characters sit. In the second floor is described a white palace from which rises a tower crowned by a structure with wrought iron loggia. In addition there is a bridge and some architectural ruins behind which some mountainous reliefs fade towards the horizon. On the staircase is described a particular scene. The people seem to be part of a very precise story. A woman, in the shadow of a parasol supported by a servant, would seem to drive out of the palace a man, who, taken under his arm by two maidens with a determined attitude, is led to a boat. The scene could be identified with the biblical episode of the parable of the prodigal son (Luke 15,11-32), at the moment when the prodigal son is robbed and driven away by the harlots. The episode tells of a man with two children. The youngest said to his father: “Father, give me the part of my inheritance”. And the father divided the substances. After not many days, the youngest son, collected his things, left for a far country and there he lost his substances with prostitutes and living as a debaucher. When he had spent everything, there came a great famine in that country and he began to find himself in need. Reduced to hunger, he was forced to be a pig herder to survive. He therefore meditated in his heart to go to his father and ask for his forgiveness and to be welcomed anew, even as a servant. While still on the road, however, the father saw him and ran towards him, receiving him with open arms. He then ordered his servants to prepare a great feast for the occasion, killing for the purpose the "fatty calf". The firstborn did not understand why his brother was given such treatment, and reminded the parent that he, who had always obeyed him, had never received a single kid to celebrate with his friends. The father answered him: «Son, you are always with me and everything that is mine is yours; but it was necessary to celebrate and rejoice, because this brother of yours was dead and came back to life, was lost and was found». The parable of the prodigal son was often portrayed in painting and the scene he finds most is certainly that of returning home in his father’s arms. Among the many is a canvas by the famous painter Giovanni Paolo Pannini (or Panini) (Italy – Piacenza, 1691– Rome, 1765) kept at the Hallsborough Gallery in London. Rather rare, however, is the scene of the prodigal son driven and robbed by harlots. There is an engraving by Hans Collaert II (1561-1620) in which this moment is described in the background compared to the moment, narratively later, in which he is penitent among the pigs. The second painting, certainly pendant of the first, represents a similar palace, with some characters overlooking the balustrade marcapiano and other figures around the large bathtub quadrilobata. In the foreground is described a monument with two large stone sculptures. In the distance some architectural elements and, beyond, the mountains are lost on the horizon. The studies related to the numerous painters of architectural views and caprices, active in Italy, and the archival documents found, which could better clarify commissions, biographies and certain works, are scarce and sporadic. Therefore there are still many difficulties in reconstructing a catalogue of autograph works for each author. Through paintings in private collections, in museums and paintings passed on the antique market it is however possible to advance some attributions in order to better delineate the various artistic figures. The style of the works studied here leads to a dating that runs between the 17th and 18th Centuries, with obvious influences dictated by the perspectives of the brothers Galli Bibiena. The analysis of the architectures and the chromatic palette suggests that we are in the presence of a northern Italian and Venetian author. Observing the decorations and the volutes, the brightness and the perspective disposition in fact, we find several analogies with those used by the Vicenza painter Francesco Aviani, excellent in pictorial perspective and architectural views. The biographical profile of Francesco Aviani (Italy - Vicenza, 1662-1715) was essentially traced in 1956 by Andreina Ballarin, then re-visited by Federica Spadotto in 2014 and Giancarlo Sestieri in 2015. Certain documents about his life are scarce, as are the documented works. He was born in Venice, probably on 25 November 1662, to Bernardo and a Magdalene whose surname is unknown, and was baptized on 3 December 1662. Between 1701 and 1703 he worked, together with his brother MarCo, sculptor, for the fresco decoration (now illegible) of the church villa in Soella (Vicenza). On October 16, 1703 he married Isabella Carcano. On March 26, 1715 he made a will and died on April 3 of the same year, in Vicenza. The frescoes in the refectory of the sanctuary of Monte Berico in Vicenza are considered authentic works by Aviani, probably made in 1708; the paintings preserved in the Civic Museum of Vicenza: “Landscape with Lazzaro and the rich Epulone”; “Christ among the doctors”; “The miraculous fishing”, works not datable but with attribution corroborated by style. In addition, the frescoes in the east and west corridors of the Villa La Rotonda, near Vicenza; the fresco in the apse basin of the chapel of the church S. Croce, Vicenza, now destroyed; the frescoes of the central hall of Villa Camerini a Montruglio (1714) and a painting of a “Porto Regio”, of which we have a print engraved by Dall'Acqua. From his works emerges the artistic background that animated the Venetian culture in the early eighteenth century. The scenic grandeur with which Aviani treats the architecture also suggests a stay in Emilia of the painter, in which he could have come into contact with the environment of the Bibiena. These contacts would be confirmed by the press of Cristoforo Dall'Acqua (Vicenza 1734-1787), “Il porto regio”, after a painting of Aviani. The press was part of a group of engravings, representing royal buildings, reproducing paintings of the Bibiena. In the eyes of Dall’Acqua, therefore, Aviani’s work was not foreign among those of the Emilians. Inside the sumptuous architectural whims, Aviani often depicts biblical scenes, in which the characters share the space and the narrative rhythm, along with figures drawn from everyday scenes, memories of the Veronese and Bassano heritage. Also in the works covered by this study the author does not seem to want to give up a biblical subject, though the purpose of the paintings appears to be clearly a staging scenography-architectural within which the characters are relegated to the role of extras. From the examination of the architectural Capriccio gathered under the name of Aviani then emerge common elements. The comparison between these works and the works in question highlights the proximity of the compositions. The imposing and scenic architectures are in fact equally characterized by the perspective-scenographic ability diffused in emilian “quadraturisti” and in Bibiena work. In fact, you can see the spectacular slender architecture in the lower part, the loggias that create chiaroscuro games with arches and binate columns placed on massive bases and overhung by projecting cornices. Significant also the comparison with two paintings with architectural whims in a night vision attributed to Francesco Aviani. In Aviani’s works it is possible to find a certain knowledge of the Roman Codazzi paint nd its early development of the eighteenth century, developed with the Locatelli, the Pannini and the less known Domenico Roberti. To Roberti have been recently attributed two works that have some compositional affinity with the canvases in question. The same can be done for a work on the antique market, attributed to Pietro Francesco...

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

Circle of VAN DE KASTEELE, Frans (Brussels, c. 1541 – Italy, 1621). "Virgin with angels and saints". Oil on copper. Curly frame in ebony. Devotiona...

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

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...

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...

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

Post Antonio Allegri di Correggio (1489-1534) "Adoration of the Child", oil on cardboard with carved and gilded frame. Dimensions: 20 x 15 cm without frame 40cm x 35cm with frame Or...

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...

ITALIAN SCHOOL "TOBIAS AND THE ARCHANGEL RAFAEL" 18TH CENTURY Oil on canvas made in the 18th century, It represents the moment in which the archangel Raphael instructs a young Tobit...

Very early Italian School Madonna and Child, Italian Baroque oil on board painting. Professionally restored. The careful removal of accumulated dirt and age-related damage, followed ...

Elegant large-scale portrait traditionally identified as Françoise-Marie d'Orléans (1677–1749), Duchess of Orléans, executed by an artist of the French School during the early eighte...