Baroque Paintings

19th century painting, anonymous.       

This finely executed hand-painted heraldic illustration, completed in March 1976 by the esteemed heraldic artist Joseph C. Snyder, is a remarkable example of 20th-century heraldic a...

**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...

Original oilpainting on woodplate by the famous artist Christian Wilhelm Dietrich (Dietricy). Born in Weimar 1712, died in Dresden 1784. In ...

In this compelling 19th-century art student study, we encounter a mesmerizing self-portrait by the eminent Baroque master, Peter Paul Rubens. The painting captures Rubens adorned in ...

A Baroque Capriccio with ruins and figures, an early 18th century Italian painting showing an imaginary landscape with roman ruins and figures, an antique oil on canvas Italian...

An exceptional and intimate 17th-century oil on copper painting portraying Saint Francis of Assisi in a profound moment of spiritual contemplation. Rendered with masterful technique,...

Exceptional quality oil on canvas portrait painting of a bewigged Dutch statesman in armour having architectural background of ancestral seat with heraldic crest at lower left. Later...

Nature morte di fiori in vaso di scuola italiana del XVII secolo, coppia di due dipinti senza cornice. Olio su tela con sfondo scuro e fiori finemente definiti. Questi dipinti, nat...

We offer you the rare opportunity to acquire an authentic piece of French religious history: a large 18th-century painting depicting Saint Eligius, created in 1790 in Grand Cléry. Th...

A light-brown, green antique Austrian Baroque oil on canvas painting by Franz Xaver Hornöck in a hand crafted original black, partly gilded wooden frame, in good condition. The vinta...

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, ...

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

An exquisite circa 1720 English George I period "Kit-kat" style portrait firmly attributed to royal court painter Sir Godfrey Kneller (8 August 1646 – ...

Pair of important oil paintings by a follower of Rembrant The two works represent two celebrated paintings : "The Anatomy Lesson of Dr. Nicolaes Tulp" and "The Sampling Officials." ...

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

Attributed to Bartolomeo Pedon (Italian 1665-1732) "Ruins", circa 1700 Oil on canvas 69.5" x 52" inches framed 61" x 43.5" inches unframed Pedon was born in October 1665. In 1716, he became part of the Fraglia, a guild of Venetian painters. He lived the lifestyle of a Bohemian and had a strong taste for poetry. Pedon spent most of his career as a painter in Padua, in the Monastery of San Benedetto, and died in February 1733. The present painting, attributed to Pedon, relies on the late Seicento landscape culture of Northern Italy. The artist was clearly influenced by painters like Johann...

Belgium / 1960 / painting / canvas, wood / Antique / Baroque / Rococo A Large Baroque painting with wooden gilded frame, Belgium ca. 1960. Signed in the right corner. Beautiful p...

A very large antiqued reproduction oil painting after François Boucher. Sometimes descrived as Two Lovers, a galant love Rococo scene with signed "Zubriczky", features an antiqued ca...

Roman School, early 19th century (Rome 1780-1842) Portrait of a young woman, probably dressed as a bride, in front of the temple at Paestum, possibly a posthumous portrait. Oil on pa...

Miguel Canals a Spanish painter from Barcelona who painted in the style of 17th century Spanish painters such as Tom'as Hiepes . In Spanish, the word Bodeg'on designates a pictorial ...

This is a Pair of Oil Paintings of Concert of Birds. They depict different birds perched in a branch of a tree. It appears that there is a music paper attached to the tree in one of ...

17th-century Italian Baroque oil on canvas 'capriccio' painting in the manner of Alessandro Salucci depicting an urban battle scene between what appear to be Spanish soldiers...

Pietro Bardellino (Italy - Naples, 1732 - 1806), attr., Sacred Heart of the Child Jesus Measurements: with frame, cm L 86 x H 99 x P 8; only the canvas, cm L 78 x H 64 The painting, made in oil on canvas, represents the Sacred Heart of the Child Jesus. Stylistically the work is attributable to Pietro Bardellino (Italy, Naples, 1732 - Naples, 1806), a pupil of Francesco De Mura and considered by critics one of the most gifted and sensitive exponents of the Rococo style in Naples. The canvas represents the Child Jesus, surrounded by flowers in an outdoor setting, while showing the sacred heart. The canvas has a well-balanced color and a strong sweetness of the child’s traits, which with the complicit gesture of the right hand, involves the viewer in the intimate and delicate sharing of the garden in which he sits. The roses, in addition to being a beautiful piece of still life, contribute to enrich the Christological message, being bearers of symbolic meanings. Marian attributes par excellence, are often side by side with Christ, whose thorns foreshadow the Passion. In the canvas, on the top left, two cherubim are observed: among them, according to the Old Testament, is God: the author therefore puts into place an iconographic and iconological hyperbole that amplifies its meaning. The iconographic theme of the Child Jesus with the Sacred Heart in his hand spread between the second half of the eighteenth century and the first of the following century. With the worship of the Sacred Heart of Jesus, the Catholic Church intends to honour the Heart of Jesus Christ, one of the organs symbolizing his humanity, which by intimate union with the Divinity, has the right to worship and love of the Saviour for men, of which His Heart is the symbol. It represents one of the fundamental devotions of Christian life, as it manifests the true face of God, who is prodigal and boundless love. It was the French mystic Saint Margaret Mary Alacoque...

Antonio Calza (Italy, Verona, 1653-18th April 1725) "Battle between Christian and Turkish cavalry with castle" The painting depicts a bloody battle between Christian and Turkish cavalry. Characterized by dynamism, intensity of color and light, the main scene occupies the lower horizontal section of the canvas, optically interrupted by the black fumes of the shots from which emerge, on the left, the towers of a fortress. On the right, in the distance you can see the combat in progress in the countryside, beyond which you can see the pale presence of hills that create a fifth, marking the horizon. To frame the scene contributes to the left, against light and in the foreground, a portion of the wall. The painter, however, introduces a horse on the ground, of which we see only the back, a ruse to involve the observer making him become active and participate in the scene. In the foreground, lifeless bodies, wounded horses and, scattered on the ground, weapons and a drum enhance the drama of the clash. The excitement and expressive force, the intense chromatic range attentive to the conditions of light and the fine brushstrokes, decisive and dramatic, suggests the attribution to Antonio Calza, one of the most important painters of battles of the seventeenth century, excellent student and continuator of the greatest interpreter of the genre, Jacques Courtois called il Borgognone (Saint-Hyppolite 1621 - Rome 1676). Il Borgognone, although not having had a real school or direct students, places itself as a primary reference point by the Italian and foreign "battaglisti". The genre of battle painting found great success in the collections of the Italian and European nobility of the seventeenth and eighteenth centuries. The battles of the Italian Renaissance, in which the scene converged towards a precise protagonist, evolve towards a type of combat "without hero". The bloody realism of the details and the dynamic development of the narrative confuse the figure of the protagonist, when present, to give importance to the swirl of horses and armed fighters, among which, moreover, does not emerge a winner. The certain documents relating to the life and movements of Antonio Calza are scarce; it was equally difficult to reconstruct, from the critics, a catalogue of autograph works. Through paintings in private collections, in museums and paintings passed on the antiques market it has been possible to identify a copious corpus of works that can be traced back to his hand. The work of art historians, together with that of antique dealers, in conferring proper attributions in order to best outline the figure of Calza, continues but studies are still in progress. In this sense, the work of Giancarlo Sestieri should certainly be noted, who investigated the artistic production of the battaglisti and Calza, thus allowing the comparison of the numerous photographic works reported, to identify and recognize the stylistic qualities that distinguish the corpus of paintings assigned to him today. Antonio Calza was born in 1653 in Italy, in Verona and in 1664 he entered the school of Carlo Cignani in Bologna, dedicating himself to painting battles and landscapes. He then perfected in Rome, where he knew the works of the then undisputed head of the sector, Jacques Courtois called the Burgundian. In 1675 he returned to Verona and married an 88-year-old widow who, dying, left him a rich inheritance. Much appreciated by the nobility and the bourgeoisie, he received numerous commissions. Bartolomeo Dal Pozzo (Le Vite de' pittori, de gli scultori et architetti veronesi, 1718) praises "three great paintings of battles...

A Baroque style oil painting from the first third of the 20th Century. This beautiful painting depicts a duck with plants, painted on a plywood panel in brown, green, and yellow ton...

This striking oil on canvas portrait, titled “WWI German Field Marshal” by renowned artist Franz Triebsch, dates to 1939. The subject of the painting is depicted in full regalia, wit...

This 18th-century Baroque oil painting by Thomas Höchsmann, dated 1783, vividly portrays a stone trader in a moment of candid activity. The artwork exemplifies the Baroque style with...

Title: Landscape. Date/Period: 19th century. Dimension: 28cm x 44cm without frame. Frame measures 12cm (plus). Materials: Oil on canvas. Additional information: Dutch School, 19th ce...

This oil painting on canvas, created by an artist from the 17th Century Flemish School, depicts one of the most significant scenes from Greco-Roman mythology: Aeneas saving his famil...

A monumental oil on canvas in The manner of the Old Masters showing a maiden to be deflowered. This palatial oil on canvas from the late 19th or early 20th century is simply stunning...

This evocative Baroque painting, titled David Conquering Goliath, is attributed to the school of Pietro da Cortona (1596–1669), a leading figure of Italian High Baroque. The dramatic...

Pair of 20th Century decorative Venetian canal paintings, After Canaletto Each one Signed 'Maffel' A stunning pair of late 20th Century oils on canvas, views of the Grand Canal in Venice Italy, in ornate carved giltwood frames. After works by the iconic Venetian painter...

Miniature portrait of a sleepy eyed man, circle Christian Wilhelm Ernst Dietrich Germany 18th century, inscribed on back, refer to ph...

A stunning Portrait of King Henri IV of France, father of King Louis XIII in the fantastic impressive hand carved gold gilded French baroque frame...

European School oil on panel of the 18th century Measures: 34X24CM Good condition.

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...

A beautiful Italian Still Life oil painting on old canvas of an urn holding a bouquet of assorted flowers set on a ledge. 17th century....

Painting with probably biblical Italian school characters End of the 17th beginning of the 18th century unsigned carrying a Carlo Maratta cartouche of in...

Oil on panel signed in the lower right corner and presented in a period frame measuring 21" x 18.5". Benjamin Eugene Fichel, France, (1826 - 1895) B. Eugène Fichel was born on Au...

Italian Venetian (19/20th Cent) gilt framed oil seascape painting of canal with red sailboat

A masterful example of 17th-century Dutch still life painting, this oil on canvas captures a lavish and meticulously rendered arrangement of fruit, emblematic of the Golden Age's fas...

Dimensions- Frame: H: 32 3/4in W: 39 1/4in D: 2 1/2in Painting: H: 25 1/2in W: 32 1/4in This Oil Painting On Canvas Titled "Checkmated" by Alex De Andreis (1880-1939) is truly ...

Italian Venetian-style (20th Century) painting of a central canal flowing through an Italian village that is swathed in golden light and busy with figures moving throughout, under a ...

Copy of a seascape painting titled " Venice, the Dogana With The Guidecca" showing ships on the Canal Guidecca inspected by Dogana or Customs

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...

A very fine and Rare Russian mid-19th century Baroque style polychromed and gilded Religious Orthodox Christian Icon on a wooden panel with fi...

An old master style 18th century allegorical painting representing youth and old age, and/or beauty and wisdom, depicted by a beautiful young ...

Discover the Elegance of 1800s Flemish Oil on Canvas: Still Life with Fruit Art is a universal language, capable of enriching spaces and souls. The 1800s Flemish oil on canvas, depic...

A Baroque styled remarkable somber evocation of Flemish winter painting, depicting a group of people strolling along a riverbank, surrounded by a barren and icy landscape. The mood o...

Copy of a painting titled "Venere con Amorini" or "Veneration of Love" showing maiden in classical garb with three cupids. Condition: Good; Wear consistent with age and use

18th century sanctuary oil on panel The Roman Sanctuary of the Felix father in Jativa, Valence, Spain.

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

Well-executed oil on canvas painting after the original 1653 painting by Diego Velasquez, which hangs at the Prado Museum in Madrid. This one is slight...

PORTRAIT OF D. MARIA BÁRBARA DE BRAGANÇA (1711-1758), QUEEN OF SPAIN Circle of Louis-Michel van Loo (1707-1771) Oil on canvas Her Royal Highness, the Infanta Maria Barbara of Braganza (1711-1758) was the first-born child of King John V of Portugal (1689-1750) and his queen consort Maria Anna of Austria (1683-1754). Born in December 1711, she had the Convent Palace of Mafra built in her honour following a vow made by her royal father. Her status as Princess of Brazil, inherent to 18th century Portuguese presumptive heirs, would however be superseded once the queen gave birth to two male princes, D. Pedro (1712-1714) and D. José (1714-1777), preventing her from ascending to the throne. Daughter of one of the most illustrious monarchs of his time, Maria Barbara was carefully educated to become a fond admirer of the arts, and of music in particular, having had the Italian composer Domenico Scarlatti (1685-1757) as her music teacher. On the 10th January 1723 the young princess was betrothed to the Infante Ferdinand of Spain (1713-1759), eldest son of King Philip V (1683-1746). Six years later, on the 19th January, she entered her new country in a carefully choreographed ceremony that became known to history as the “Exchange of the Princesses”. This unique event took place on a specially built Bridge-Palace, a wooden, luxuriously decorated structure that included various modules and rooms, on both banks of the river Caia, the natural border between the town of Elvas in Portugal and of Badajoz in Spain. Simultaneously, on the same day that the Portuguese Infanta crossed the border to marry the Spanish Crown Prince, her new sister in law, the Infanta Mariana Victoria of Bourbon (1718-1781), her husband’s sister, crossed the same bridge in the opposite direction to marry Prince D. José, the Portuguese heir to the throne. Once married, Maria Barbara would spend 17 years as Princess of Asturias, only becoming Queen of Spain at her husband’s accession following the death of Philip V in 1746. She is portrayed in the 1743 painting by Louis-Michel van Loo (1707-1771) now in the Prado Museum, in which Philip V had himself represented with all his close family. The new Queen would take an important role at court eventually becoming the liaison between her husband and the King of Portugal, particularly throughout the negotiations for the Treaty of Madrid (1746-1750). Maintaining her interest in music, she patronized the Italian castrato singer Farinelli (1705-1782) while remaining close to her old master Scarlatti, having herself composed some sonatas for a large orchestra. She would also commission and fund the building of the Royal Salesians Monastery complex in central Madrid, where both her and Ferdinand VI are buried. The portrait we are presenting for sale shows the Queen in half-length, turning left at three quarters. She is wearing a blue low-cut dress embroidered with flowers and foliage, over a lace cuffed white blouse, and an ermine cloak pined on the left-hand side by a diamond broach. The powdered hair style is held sideways by a seven diamond and black plume headdress and topped by a small gold and pearl crown. The right arm rests on a cushion while the left hand, at chest height, holds a miniature male portrait. The Infanta’s features are analogous to the 1725 portrait by the painter Domenico Duprà (1689-1770), also in the Prado Museum collection. Further similarities can be found in another portrait by Louis-Michel van Loo, in which a seven diamond and black plume headdress is also present. In this work, the cushion supporting Maria Barbara’s right arm has also some obvious similarities to our painting. The same diamond headdress reappears in Van Loo’s above-mentioned portrait of Philip V’s family dated from 1743. It is nevertheless in Lisbon’s Ajuda National Palace that it is possible to find an almost identical depiction of the Infanta holding a miniature portrait of her husband. In it, the future Ferdinand VI is portrayed facing right at three quarters and wearing a curly wig, suit of armour, the golden fleece insignia and a blue band, in a composition that closely resembles an 18th century Spanish school painting that appeared in the art market in January 2016. Another detail common to various portraits of the Portuguese Infanta and Queen of Spain is the small gold and pearl crown on her head. In another Van Loo painting, also from the Prado Museum, in which Maria Barbara is portrayed as Queen, this crown is represented together with a headdress similar to the one previously described. Another two paintings by the same artist, at the Royal Academy of Saint Ferdinand, include the same ornament. We must also refer the paintings by the artist Jean Ranc (1674-1735). In one, dating from 1729 (Prado Museum), the Infanta is depicted outdoors holding a flower bouquet and wearing a yellow silk dress with red cloak, and a set of diamond and ruby jewellery that includes a headdress similar to the one present in our portrait. Another work by the same artist, belonging to the Complutence University of Madrid, depicts the Infanta sumptuously dressed in identical colours to our painting and wearing an elaborate headdress and diadem. These portraits, beyond their iconographical importance as contemporary records of the Infanta and Queen Maria Barbara, are also illustrative of 18th century fashion for jewelled head dressing. Often, flowers were combined with joyful adornments, composing almost theatrical displays that would reinforce the ostentatious nature of the image. The ornamental flowers and the chromatic character of the jewels would complement the luxury of the colourful dresses in blue, crimson, green or other silk shades, in compositions whose sole purpose was to highlight a royal sitter’s wealth and power, becoming an essential statement accessory within the strict court protocols and codes of conduct. Circle of Louis-Michel van Loo (1707-1771) Slowly but steadily, the resolute, tranquil and dignified attitude of Renaissance and Baroque portraiture becomes artificial and presumptuous. Mid 18th century society favours elusive expression and psychological deepness, albeit limited to the face, that, with emphasis on detail, on the rich colour palette and on changing costumes and landscapes, associated to the courtliness of gestures, creates a strongly artificial environment while maintaining a highly poetic intrinsic character. Louis-Michel van Loo followed a dynasty of famous Dutch origin artists that had settled in France. Initially taught by his father, Jean-Baptiste von Loo (1684-1745), the younger van Loo studied in Turin and Rome and frequented the Paris Academy. In Rome he worked with his uncle Charles-André van Loo (1705-1765) and become a painter for the Turin Court. In 1737 he arrived in Spain being summoned by Philip V to succeed Jean Ranc as painter of the king’s chamber. In Madrid, his work covers the numerous Court commissions and the Royal Saint Ferdinand Fine Arts Academy, of which he was a founding member and director for the Painting department in 1752. Is production at court consisted essentially of numerous portrait paintings, often Royal gifts...

Large, very well done oil on canvas representing the Portrait of a mathematician, a professor, leaning on his elbows and holding a ruler. This painting has a very beautiful frame, w...

Still life flower painting, floral impressionist Oil on canvass floral picture interior scene by Italian artist Giuseppe Cavasanti he attended Alberta Academy under the guidance of G...

Venetian harbor scene with St Marks in the background oil on oak panel. Exceptional quality. Signed illegibly lower left. From an old Philadelphia collection.