Baroque Paintings

Copy of a portrait of "Emanuele Filiberto", Italian military leader of the 1500's

Abraham Brueghel (1631 - 1690) Attribution - "Triumph of Flowers and Fruits in Plein Air" oil on canvas 95 x 130 cm without frame 100cm x 135cm with frame good conditions Abraham Br...

Couple of architectural capriccio with mythological scenes, oil on canvas, painter from Bologna active in the 18th century The two large and valuable pantings depict two architectur...

This 19th-century oil painting captures a vibrant Venetian landscape, depicting the iconic Venice Canal with boats drifting along the waterway. The bright colors and dynamic brushst...

Giovanni Michele Graneri (Italy, Turin 1708-1762) Bambocciata (Farmers dancing in front of the inn) The painting, made in oil on canvas, depicts a moment of celebration where some p...

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...

Oil on canvas, Vase of Flowers by Francesco Caldei, known as Francesco Mantovani, Mantua 1584-Venice 1674. This is a painting created around 1600 by Francesco Caldei, known as Franc...

Important English School " LADY HAMILTON " 18th Century Oil on canvas, 18th century English school. Signed. Small defects. Dim.: 124 x 99 cm good conditions

Belgium / 1950 / painting with frame / R. Remmerie / wood, canvas / Rococo / Baroque / Mid-century Charming and beautiful framed painting of the Belgian artist R. Remmerie of a land...

Goya oil on canvas from xviii century The canvas is relined. It is from the same time that Goya made the cartons. The painting measures: 135 x 101 cm without frame. The dutch frame measures: 172 x 140 cm -The blind chicken (1789) is one of the cartoons that served as a model for the manufactures of the Royal Tapestry Factory of Santa Bárbara by Francisco de Goya...

Gaspar Peeter de Verbruggen the Younger (Antwerp, 1664 – 1730) and Pieter Ykens (1648 – 1695) Still Life with Fruit, Flowers, and Female Figure (Flora) Dimensions: Frame: W 143 cm x ...

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...

ANTIQUE ORIGINAL OIL ON CANVAS PAINTING DEPICTING A BASKET OF INGREDIENTS Depicting a basket with a frayed handle, which has been emptied onto a kitchen table. The basket is full o...

Belgium / 1950 / Painting / canvas, wood / Antique / Baroque An exquisite oil painting in the style of the Belgian old masters with a luxurious gilded wooden frame. This work beau...

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...

A pair of Oil Italian Baroque paintings: - A 17th Century baroque painting of a sideview of Jesus Christ Salvator Mundi or Saviour of the World in sfumato Saint Savior of the Worl...

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...

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,...

The beautiful and intriguing 19th century portrait of John the Baptist, oil on wood, in style of Francisco Goya, signed lower left by French painter Saint Cyr Anduze. The painting i...

Charming still life old Italian painting with beautiful details, in a vintage Italian carved wooden frame Interesting for a study room . If You don't want the frame for the paintin...

Italian School "Apostle" 17th Century Oil on oak wood Carved and gilded wooden frame. Small defects. Dim.: 44 x 58 cm good conditions

Early copy of Dutch painting. Oil on canvas in antique style wooden frame. “Elisabeth Bas (1571, in Kampen – 2 August 1649 in Amsterdam) was a figure in the Dutch Republic. She was the wife of Jochem Hendrickszoon Swartenhont, an admiral in the navy of the Dutch Republic and military hero. The portrait is now in the Rijksmuseum Amsterdam, where it is known as Elisabeth Bas and attributed to Ferdinand Bol...

Netherlands 17th century, oil on canvas, doubled, 64 x 50 cm, without frame not signed.

An Incredible and Quite Rare 19th Century KPM Porcelain Plaque after Gerrit Dou (Student of Rembrandt, Titled "The Schoolmaster" c. 1671. The porcelain plaque is incredible with the...

17th Century Italian Stucco plaster fresco This highly decorative and imposing Italian fresco most likely dates from the early part of the 17th Century although with some later resto...

Northern Italian School, 17th century "Coronation of the Virgin" oil on canvas, 160X108.5cm no cornice good condition

17th Century, Italian painting with still life with fruit, dogs and cat Measurements: With frame cm W 93 x H 75.5 x D 4; Frame cm W 82.5 x H 66.5 The...

Porcelain plaque painted with Mary Magdalene by K.P.M. German, circa 1900 Measures: Frame: Height 32.5cm, width 26.5cm, depth 3cm Plaque: Height 25.5cm, width 19cm, depth 0.5cm ...

Monumental Baroque Oil on Canvas – Saint Catherine of Alexandria, European School, Circa Late 17th to Early 18th Century – As Found Impressive in scale and rich in allegorical power...

Early 17th century French School "Virgin and Child " Oil on canvas (Original canvas, restorations, gaps) 71.5 x 60.3 cm Provenance Duc de Lesdiguières, according to an old label ...

17th century Roman school, Santa Cecilia with angels in concert, oil painting on canvas The valuable painting, in excellent condition, depicts Sa...

An exceptional early Cuzco School painting, naive depiction of the Holy Family, presented in a contemporary wooden frame. The Cuzco or Cusco school was a Roman Catholic artistic tradition that began in the 1500's in Peru, following the Spanish conquest and subsequent attempts by the Spanish invaders and missionaries to implement the Catholic faith and associated customs upon the Peruvian people. The school was established in the ancient city of Cusco which had previously been the capital of the Incan empire. Bernardo Bitti arrived in Peru in 1583, and with his arrival the acceleration of Cuzqueno Art flourished. During his two stays in Cusco, Bitti was commissioned to make the main altarpiece of the church of his Order, replaced by another after the earthquake, and painted some masterpieces, such as The Coronation of the Virgin, currently in the museum of the church of La Merced, and the Virgen del pajarito, in the cathedral. Cuzco School paintings are marked by their baroque influenced imagery and the subjects of the paintings shown with light focused upon them. Cuzco art...

Great oil on canvas depicting Madonna and Child. Carved, gilded and polychrome wooden frame with floral arrangements. Venetian, 18th Century. Dimensions in centimeters: CANVAS 69cm H x 51cm / FRAME 107cm H x 80cm. In art, a Madonna is a representation of Mary, either alone or with her child Jesus. These images are central icons for both the Catholic and Orthodox churches. The word is from Italian ma donna 'my lady' (archaic). The Madonna and Child type is very prevalent in Christian iconography, divided into many traditional subtypes especially in Eastern Orthodox iconography, often known after the location of a notable icon of the type, such as the Theotokos of Vladimir...

An Enduring Masterpiece: Oil on CanvasMarina with Venice Lagoon, 1877 Bring the elegance and beauty of the Venice Lagoon into your home with this spectacular 1877 oil on canvas. Thi...

Oil painting battle scene of Adam Eugen (1817-1880). Oil on canvas. Military scene from the time of the Spanish War of Succession, signed and dated Eugen ...

French School of 1659 17th century "Portrait with Coat of arms of Margueritte Pierre de Boutteville" around 1659 Oil on canvas with coat of arms and dated top right Provenance: Bel...

Uncover a dramatic masterpiece with this Vintage Original Figurative Oil Painting on Canvas, a captivating work of art steeped in historical allure. This extraordinary piece presents...

The Treasures of Rembrandt Book by Michiel Roscam Abbing Art Gallery Book in slip case. Celebrating the 400th anniversary of the birth of one of the wo...

A very large, impressive, and beautifully painted Baroque era still life with a colorful parrot and flowers. Oil on canvas in giltwood frame. Italy, late 17th century-early 18th cent...

Important Spanish School of the 17th century "Christ Carrying the Cross" Oil on canvas 73 x 60 cm with frame: 78cm x 65cm The work is inspired by ancient models, in particular by t...

Italianate landscape, Manner of Claude Lorrain Very good Quality oil on relined canvas in the Manner of Claude Lorrain, cargo ships on the banks of the river Po Italy. 📜 Provenance – Italianate Landscape after Claude Lorrain, England or Italy, circa late 18th–early 19th century This finely executed oil on canvas is an accomplished historic copy after Claude Lorrain’s celebrated Italianate river landscapes, specifically related to his Landscape with Merchants (c. 1630s), held at the National Gallery of Art, Washington, D.C. The composition also bears a close resemblance to the 1769 engraving by Boydell and James Mason, after a painting once in the distinguished collection of Robert Trevor, 4th Baron Trevor, later 1st Viscount Hampden. The scene features cargo ships along the tranquil banks of the River Po, enveloped in the soft, atmospheric light for which Claude Lorrain (1600–1682) is universally revered. Executed in the idiom of the Grand Tour period, the painting exemplifies the classical Arcadian themes sought by aristocratic collectors travelling through Italy in the 18th and early 19th centuries. This work is a particularly elegant example of the period's taste for Claudean compositions, balancing architectural elements with expansive vistas and golden, diffused light. The canvas has been professionally relined and restored, housed in a contemporary frame that complements the work’s scale and palette. Minor craquelure and darkening to areas of the blue and green pigments remain consistent with age, enhancing its historic charm. Ideal for integration into neoclassical, traditional, or transitional interiors, this work represents an opportunity to acquire a piece of decorative art with a strong visual lineage and academic relevance — a testament to Lorrain’s enduring influence across centuries of landscape painting. Very similar to the Landscape with Merchants in the National Gallery of Art, Washington, D.C. Our version could be after the engraving by Boydell and James Mason on 1st January 1769. Interestingly, the source painting for the painting was once in the collection of Robert Trevor, 4th Baron Trevor (from 1764), and subsequently (from 1776) 1st Viscount Hampden. 18th-Century Italian Landscape in the Manner of Claude Lorrain This exquisite 18th-century Italian Landscape in the manner of Claude Lorrain captures the essence of Italian Baroque landscape painting, showcasing the serene beauty and harmony of the classical countryside. Drawing inspiration from the Golden Age landscape painting, it reflects the elegance and detail characteristic of Claude Lorrain-style artwork, featuring sweeping vistas, balanced compositions, and an idealised landscape scene that exudes timeless charm. A Classical Italian Countryside Painting...

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-...

17th-century French School, workshop of Jean Nocret Portrait of a Woman with a Desk Canvas (Antique Restorations) 107 x 84.5 cm Good condition A student of Jean Le Clerc, a Lorrain...

Roman school of the 17th century Jesus among the Doctors 103X71 cm good conditions Jesus among the doctors is a fresco (200x185 cm) by Giotto, dating back to around 1303-1305 and pa...

ANNUNCIATION TRIPTYCH Spanish School 17th Century Oil on canvas glued to wood, Spanish school 17th century Dim.: (total) 97 x 153 cm very good conservation condition

Saint Jerome Hears the Trumpet of Judgment, Neapolitan School, 17th Century This exquisite oil-on-canvas painting depicts Saint Jerome hearing the trumpet of the angel of the Last Ju...

17th century French School "Virgin and Child (Virgin of the Rosary)" Oil on canvas (Fragment, original canvas, tension bands, restorations) 47.3 x 37.9 cm This canvas was probably...

Grand, family crest, hand painted on linen and laid down on wood, commemorating the marriage of two families from Northern Italy.

Title: Landscape. Date/Period: 18th century. Dimension: measures without frame 89cm x 61cm. Frame 15cm in plus. with gold trim. Materials: Oil on canvas. Additional information: Ital...

Venetian School painting of four angels, allegorically depicting the variable winds of change and time. Unsigned, believed to be by a follower of Pietro Li...

Antique decorative oil painting on wood panel, belonging to the 17th-century Flemish school. The work depicts the biblical scene of "Susan and the Elders," a recurring theme in Baroq...

Baroque capriccio with architectural ruins and figures, an early 18th century Italian painting showing an imaginary landscape with Roman ruins and figures, an early Italian oil-on-ca...

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

La Pub in URSS dans les annees 20 Anikst, Mikhail Published by Editions du Chene, 1987 This work describes the extraordinary emulation aroused in Russian a...

18th Century, Italian painting with Saint Nicholas and the miracle of the brick Oil on canvas; Frame cm H 136 x W 109 x D 10. Canvas cm H 100 x W 74 The oil on canvas painting, with...

Important oil on canvas, anonymous work attributed to the 17th-century French school, depicting a refined allegory of Dawn, a mythological figure associated with dawn and the renewal...

A LARGE OIL ON CANVAS OF 'DON GASPAR DE GUZMAN COUNT-DUKE OF OLIVARES, MID-20TH CENTURY, originally painted by Diego Valazquez ( 1599-1660), Provenance: Painting has been used in the Three Musketeers film and was purchased from...

An incredible and very rare 19th Century Meissen porcelain plaque depicting Rembrandt and Saskia in the Tavern. Meissen plaques are incredibly rar...

Death of Socrates, oil on canvas, Unsigned, 18th century possibly Italy.

Magnificent painting, oil on canvas, Italian School, 18th century after Guido Reni. Depicting a Virgin in prayer. The painting of the Virgin is magnificent. The lines are fine and e...