Baroque Paintings

Francesco Simonini (Parma, 16 June 1686 - Parma, 1766) “The rest of the soldiers” and “The march of soldiers” oil on canvas cm 40 x 58 and 40 x 60 ; frame: h 52,5 x W 70,5 x D 6 an...

Experience the elegance of the 18th century with this Belgian painted oil on canvas 3-panel screen. Each panel connects the intricate scenes of pastoral life, delicately hand-painted...

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

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 ...

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...

A Flemish School painting of the Adoration of the Child Jesus in the hands of Mary and a young Saint John the Baptist at his feet kneeling with the cross side by side with a resting ...

Giovanni Paolo Castelli, known as "Lo Spadino" (Rome 1659 – around 1730) Still Life with a Composition of Fruit Dimensions: frame cm L 76.5 x H 61 x D 6.5. Canvas cm L 55.5 x H 40 Th...

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...

Venus and cupid 19th century. French school. oil on canvas. Dimension: 66 x 51 cm. Good conditions.

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 19th Century Meissen Porcelain Plaque of 'The Banishment of Ishmael and Hager', in its Original Frame. This fantastic Meissen porcelain plaque depicts...

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

Jan Frans van Bloemen called Orizzonte (Antwerp 1662-Rome 1749). A Late 17th early 18th century Italian landscape with figures of the Roman Campagna. ...

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

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

1681, Pair of Paintings signed Grechetto da Leone as Govaert G. VAN DER LEEUW Oil on Canvas Dimensions: cm W 91 x H 123 x D 6; canvas: cm W 72 x H 103.5 This pair of fine paintings,...

Very good Quality oil on relined canvas in the Manner of Claude Lorrian cargo ships on the banks of the river po Italy 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 idealized landscape scene that exudes timeless charm. A Classical Italian Countryside Painting...

Catalan Baroque S.XVI The Adoration of the Magi Oil on wood 92cm x 68cm Dated 1527 At the beginning of the Renaissance period, Gothic forms coexisted in Catalonia with other new solutions, in which religious fervor was mixed with the attention to detail of everyday life. Following the medieval tradition, the altarpieces are thought from a narrative vision, and flat painting...

Belgium / 1940 / Painting / canvas, wood / Rococo / Baroque A Belgium oil painting signed Jos Pas, 1944 of a vase with orange flowers, grapes and a painting in the background. The ...

Peter Paul Rubens (Siegen 1577 - Antwerp 1640) circle of Saint Catherine of Alexandria Never Restored First Canvas Oil on canvas 129.5 x 94 cm The work is based on the painting by Peter Paul Rubens and engraved by Schelte von Bolswert. Rubens, known as "the Prince of the Baroque", was the great master who revolutionized both Flemish and European painting. His first training took place thanks to the masters Otto van Veen and Jan Brueghel the Elder. His trip to Italy, where he stayed, studied and painted for eight years, was fundamental to his artistic growth. His first stop was Venice, where Titian, Veronese and Tintoretto studied. He later came into contact with Vincenzo I Gonzaga, Duke of Mantua, becoming the court painter of the family, a position he held until the end of his stay in Italy. In Mantua, Rubens had the opportunity to study the rich ducal collection closely and assiduously. By making copies of several famous paintings he was able to practice technically on the examples of the greatest masters. In 1601 he was sent by the duke to Rome, where he was able to further broaden his figurative horizons thanks to the copying of the models of Michelangelo and Raphael and the study of the ancient, also looking at the contemporary artistic production of Carracci, Caravaggio and Federico Barocci. After leaving Italy, he settled in Antwerp, where he organized his atelier, applying the methods of organized production, that is, employing his collaborators with rational criteria and on the basis of individual specializations. Among the many painters who came out of Rubens' workshop or were strongly influenced by the master, we remember: Cornelis and Paul de Vos, Jacob Jordaens, Pieter Van Mol, Victor Wolvoet, Joanna Vergouwen, Jan Boeckhorst known as Lange Jan, Lucas Van Uden, Theodor Van Thulden, Peter Van Lint, Willem Van Harp, Vincent Adrianssen, Pieter Van Avont, Jan and Hendrick van Balen, Theodor Boeyemans or Boeijermans, Vincent Malò...

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...

17th Century Italian School Crucifixion Oil on Panel This exquisite 17th-century Italian School Crucifixion oil painting is a masterpiece of...

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...

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...

Pair of KPM porcelain plaques after Spanish Baroque paintings by Murillo German, Late 19th Century Plaques: Height 25cm, width 19cm, depth 0...

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...

17th Century Italian School "Saint Joseph and the Child" oil painting on canvas 95cm x 67cm measures without frame frame size: 10cm good conditions golden frame Private Italian Colle...

Govaert Flinck School (1615-1660) 17th Century "Isaac and His Sons" Oil on canvas 116 x 140 cm Good condition Govert or Govaert Teuniszoon Flinck (Clev...

This exquisite pair of 19th-century French paintings captures playful putti, or cherubic children, rendered in a Baroque-inspired style. These charming artworks, executed in delicate...

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, ...

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 late 18th century copy of a painting by Claude Lorrain titled, "Port scene with the Villa Medici" the original painted in 1637 and now hanging in the Uffizi Gallery in Florence. Th...

SPANISH SCHOOL 17th Century "Still life". Oil on canvas Recovered. Dim.: 65.5 x 55.5 cm. good conditions

FLEMISH SCHOOL OF THE 17TH Century "Virgin of the Milk" Oil on canvas 45x36.5cm. Gilt wood frame good conditions.

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

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

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...

A Large and Impressive 19th Century Continental Oil on Canvas "An Allegory of Love" after the original work by Titian - Tiziano Vecellio (Italian 1488-1576), within an ornate gilt-wo...

Original oil on canvas painting by the very talented French artist Charles Henri Franzini d’Issoncourt who won an award in Paris at the Universal Exposition in 1900 for his artwork. ...

Unknown Flemish artist, 17th-18th century, “Judith and Holofernes”, oil on canvas 20.47 x 19.68 inches (52 x 50 cm) (lined), not signed. The painting c...

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...

Italian School of the Sec. XVII "SALOME WITH THE HEAD OF SAINT JOHN THE BAPTIST" Oil on copper. Dim.: 22 x 15 cm good conditions.

Italian School 17th century Portrait of Emperor Vespasian, bust; oil on canvas, 77.6 x 65.6 cm. Provenance: Private collection, U...

A very large antiqued reproduction oil painting after Antoine Watteau. Features an antiqued canvas. Frame: 75.5 cm (29.72 inches) x 66.5 cm (26.1...

Thomas VAN DER WILT (1659-1733) "Portrait of Noble Woman", oil on canvas 55cm x 46cm without frame 65cm x 56cm with frame very good conditions Thomas van der Wilt (1659–1733) was an...

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 ...

From the Emilia Romagna school of painting this is a depiction of a mother hen protecting her chicks, the period giltwood frame in perfect condition and retaining a paper label at to...

Antonio Alegri, (Correggio - 1494-1534) Our Lady with the Child Jesus oil on copper, Italian School 16th century With inscription on the back '1494-1534...

Russia / 19th century / Religious Icon / oak / Baroque / Antique Religious Russian Icon “The Suffering Mother God”, 19th Century in tempera on panel from the estate of a collector. ...

Amazing pair of baroque cornucopias, with painted glass, s. XVIII, Spanish origin, Andalusian school (Córdoba) Outstanding pair of Cornucopias in carved wood and gilwood decorated w...

A very large antiqued reproduction oil painting after Jean Antoine Watteau. Apty titled "Pilgrimage" features an antiqued canvas with unique craquelure and Baroque scallioped frame. ...

Religious Oil on Canvas – European School, 18th Century Dimensions: 50 x 45 cm (frame), 34 x 29 cm (view): San Carlos Borromeo, Archbishop of Milan (1538-1584) A serene and contempl...

17th century Flemish oil on panel Monogrammist H. C. "Soldiers gambling for Christ's tunic" The fine painting depicts the biblical scene i...

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...

Follower of Jacopo Da Ponte, called Jacopo Bassano (Bassano del Grappa, circa 1510 - Bassano del Grappa, 13 February 1592), 17th century Allegory of the Spring Measures: With frame: ...

17th-Century English Portrait, Attributed to Sir Peter Lely A striking 17th-century English oil on canvas portrait, attributed to the renowned court painter Sir Peter Lely (1618–1680...

A six panelled screen of the late Baroque period Oil on canvas, depicting a panoramic view of a Capriccio north European landscape, perhaps Schlesweig-Holstein, with distant views of the sea, the ruined castles, peasants, and a lady of quality mounted, within a running arched canopy...

This is the Good Shepherd With Lamb Painting. It depicts an oil painting in canvas of the Christ Child seated in a large rock holding with his right hand the shepherd stick and the l...