Baroque Paintings

A Pair of French 19th Century Oil on Canvas "Allegory of Fortune and Virtue". The old-master style oval canvas' depicting Fortune as a classical seated elegantly dressed maiden tossi...

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...

Adolf Constantin Baumgartner Stoiloff (Austrian/Russian, 1850-1924) a fine oil on board "Charging 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...

"The Tears of Saint Peter", Follower Domenikos Theotokopoulos- El Greco 19th Century El Greco Museum. Toledo, Castilla la Mancha, Spain. Saint Peter's Tears El Greco (1541-1614) Oil...

"Saint Sebastian" by Carlo Saraceni 19th Century Italian School with Video Oil painting on canvas, Italian school, 19th century, depicting Saint Sebastian in the style of Carlo Sara...

Important Pair of Italian School Paintings "Night and Day" 19th Century Inspired by the excavations of Pompeya Two oils on the carton. 35cm x 24cm A year ago it was clean underneath

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...

ITALIAN SCHOOL "Landscape" signed CORNICELLI1 9th Century Oil on canvas. Signed. Dim.: 39 x 49 cm good state

BRITISH SCHOOL "Landscape with Figures" 19th Century Oil on canvas, Recovered. Dim.: 79 x 32 cm good conditions

BRITISH SCHOOL "Landscape with Figures and Animals" 19th Century Oil on canvas Recovered. Dim.: 50 x 58 cm good conditions

This stunning French wall mural features a captivating Pastoral scene in bold coloured hues. Measuring large in size, this canvas mural is the perf...

Wonderful 19th century copy of Guido Reni's masterpiece, The Aurora, a large Baroque ceiling fresco painted in 1614 for the Casino, or garden house, adj...

Jules Alexandre Gamba De Preydour (1846 - 1931) Pair of paintings depicting still lifes of flowers and fruit with landscape signed lower left and dated 1891 The pair of paintings d...

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...

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 ...

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." ...

A 19th century colorful landscape of Venice and the channel with boats. Oil on papercoard. Frame: Width: 20,47 in (52 cm) Depth: 16,14 in (41 cm) Canvas: Width: 13,77 in (35...

German painter of the 19th century "Flower Still Life" oil on hardboard, illegible signed lower right (E. München-Thiele?). Still life with poppies, cornflowers and daisies in a some...

Beautiful oil painting on canvas, depicting travelers on horseback visiting the Tivoli Rock, passing over an ancient bridge that was destroyed and restored with a wooden substructure...

French School "Landscape with Figures". Oil on canvas from the 19th century. Recovered. Dimension: 59 x 82 cm. Good conditions.

French School 19th century, half portrait of Dyonissus, oil/canvas, restored, relined, signed lower right, approx. 60 x 50cm, gold colored stucco pomp Frame approx. 88x78cm Very...

A stunning oil portrait in the manner of Allan Ramsay, a Scottish painter who was renowned for his portraits in the 18th century. (1813-1784) This is a beautifully executed painting...

RIVER LANDSCAPE WITH CASTLE AND BOATS European School 19th Century oil on wood, 19th century European school Small defects. DIM.: 37 x 46 cm good conditions.

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

19th century Italian School. "Bird Seller". Oil on canvas, according to an impression by Datero, Veneto of the 3rd met. of the 19th century. Dimension: 166 x 201 cm. Very good condit...

FRENCH SCHOOL circa 1820 19th century " People near a Lock " Canvas 44 x 72.5 cm very good condition

18th to 19th century framed watercolor Coat of Arms of the Company of Merchant Taylors of the City of York. A guild of freemen since 1273, Charles II granted them a royal charter Apr...

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...

Set of 2 so-called 'Trompe L'oeuil' ( (deception of the eye) paintings - still life with dead game. These paintings were already made in the 16th century and developed into a genre...

"Oil on canvas ""The Lamentation"" painted after the original (circa 1629) by Sir Anthony van Dyck. This rendition of the burial of Jesus Christ shows ...

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 ...

Spanish school painting "Naval Battle" 19th century. Oil on canvas Measures: 115cm x 48cm. Very good conditions without frame.

Large painted antique porcelain plaque with musical party scene French, Late 19th Century Frame: height 58cm, width 77cm, depth 4cm Plaque:...

Grand et beau tableau, huile sur toile, représentant " L'adoration des Bergers " Ce tableau est une œuvre réalisée au début du XIXème siècle par un peintre non identifié mais très talentueux puisqu'il fallait une certaine maitrise pour s'attaquer à la réalisation d'un tel tableau de si grande taille, encadré par un beau cadre en bois sculpté et doré, italien également. Pour comprendre l'origine de ce tableau il faut remonter au début du XVIIème siècle; en effet, une poignée d’artistes, d’Utrecht aux Pays Bas, arrivèrent à Rome appelés par des commanditaires, très impressionnés par le Caravagisme. Parmi eux se trouvait Gerrit van Honthorst...

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

George Etheridge oil on canvas. It is an oil on canvas by the artist: George Etheridge. There is a work of his on display at: Cyfarthfa Castle Museum & Art Gallery. Total measureme...

Fabulous antique realism landscape oil on canvas painting titled Polperro signed Hely Smith (a.k.a. Hely Augustus Morton Smith) with original Baroque style ...

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

Painting of hard stones of the xix century. Elegant painting made with hard stones of different colors. Very nice work. Made in firenze-Italy in the XIX century. Measures:34 x 28Y16 ...

19th century pair of Putti oil paintings on wood, set of two walnut panels depicting woodland landscapes with cherubs playing of Italian origin. Thi...

Giltwood Framed Limoges Enamel after François Boucher 'The Bird Catchers' France, Circa 1880s Framed in an elaborate hand carved pierced and giltwood t...

Important Painting Of Hard Stones XIX TH LARGE PAINTING OF HARD STONES OF DIFFERENT COLORS THAT REPRESENTS THE: VIA APIA DE ROME. THIS IS A VERY CO...

These wonderful porcelain plaques were created in circa 1860 by the prestigious Konigliche Porzellan Manufaktur or KPM (German, founded in 1763). The plaques feature beautiful paintings based on works by the famous Seville-based Baroque artist, Bartolome Esteban Murillo (Spanish, 1618-1682). One plaque is decorated after Murillo...

A beautiful 19th century Italian oil painting on re-lined canvas presented in a gilded wooden frame. Done in Guardi style with gold frame. The...

This is a beautiful hand carved and gilded mirror frame. It is a dramatic wall hanging with a stunning depth of more than 3 inches. The circa 1880...

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

A fine Italian 19th century oil painting on canvas "La Madonna della Seggiola" after Raphael (Raffaello Sanzio da Urbino 1483-1520) The circular canvas depicting a seated Madonna holding an infant Jesus Christ next to a child Saint John the Baptist, all within a massive carved gilt wood and gesso frame (all high quality gilt is original) which is identical to the frame on Raphael's original artwork. This painting is a 19th Century copy of Raphael's Madonna della Seggiola painted in 1514 and currently exhibited and part of the permanent collection at the Palazzo Pitti, Galleria Palatina, Florence, Italy. The bodies of the Virgin, Christ, and the boy Baptist fill the whole picture. The tender, natural looking embrace of the Mother and Child, and the harmonious grouping of the figures in the round, have made this one of Raphael's most popular Madonnas. The isolated chair leg is reminiscent of papal furniture, which has led to the assumption that Leo X himself commissioned the painting, circa 1890-1900. Subject: Religious painting Measures: Canvas height: 29 1/4 inches (74.3 cm) Canvas width: 29 1/4 inches (74.3 cm) Painting diameter: 28 1/4 inches (71.8 cm) Frame height: 57 7/8 inches (147 cm) Frame width: 45 1/2 inches (115.6 cm) Frame depth: 5 1/8 inches (13 cm).   Raffaello Sanzio da Urbino (Italian, March 28 or April 6, 1483 - April 6, 1520), known as Raphael, was an Italian painter and architect of the High Renaissance. His work is admired for its clarity of form, ease of composition, and visual achievement of the Neoplatonic ideal of human grandeur. Together with Michelangelo and Leonardo da Vinci, he forms the traditional trinity of great masters of that period. Raphael was enormously productive, running an unusually large workshop and, despite his death at 37, leaving a large body of work. Many of his works are found in the Vatican Palace, where the frescoed Raphael Rooms were the central, and the largest, work of his career. The best known work is The School of Athens in the Vatican Stanza della Segnatura. After his early years in Rome much of his work was executed by his workshop from his drawings, with considerable loss of quality. He was extremely influential in his lifetime, though outside Rome his work was mostly known from his collaborative printmaking. After his death, the influence of his great rival Michelangelo was more widespread until the 18th and 19th centuries, when Raphael's more serene and harmonious qualities were again regarded as the highest models. His career falls naturally into three phases and three styles, first described by Giorgio Vasari: his early years in Umbria, then a period of about four years (1504–1508) absorbing the artistic traditions of Florence, followed by his last hectic and triumphant twelve years in Rome, working for two Popes and their close associates. Raphael was born in the small but artistically significant central Italian city of Urbino in the Marche region, where his father Giovanni Santi was court painter to the Duke. The reputation of the court had been established by Federico III da Montefeltro, a highly successful condottiere who had been created Duke of Urbino by the Pope - Urbino formed part of the Papal States - and who died the year before Raphael was born. The emphasis of Federico's court was rather more literary than artistic, but Giovanni Santi was a poet of sorts as well as a painter, and had written a rhymed chronicle of the life of Federico, and both wrote the texts and produced the decor for masque-like court entertainments. His poem to Federico shows him as keen to show awareness of the most advanced North Italian painters, and Early Netherlandish artists as well. In the very small court of Urbino he was probably more integrated into the central circle of the ruling family than most court painters. Federico was succeeded by his son Guidobaldo da Montefeltro, who married Elisabetta Gonzaga, daughter of the ruler of Mantua, the most brilliant of the smaller Italian courts for both music and the visual arts. Under them, the court continued as a centre for literary culture. Growing up in the circle of this small court gave Raphael the excellent manners and social skills stressed by Vasari. Court life in Urbino at just after this period was to become set as the model of the virtues of the Italian humanist court through Baldassare Castiglione's depiction of it in his classic work The Book of the Courtier, published in 1528. Castiglione moved to Urbino in 1504, when Raphael was no longer based there but frequently visited, and they became good friends. He became close to other regular visitors to the court: Pietro Bibbiena and Pietro Bembo, both later cardinals, were already becoming well known as writers, and would be in Rome during Raphael's period there. Raphael mixed easily in the highest circles throughout his life, one of the factors that tended to give a misleading impression of effortlessness to his career. He did not receive a full humanistic education however; it is unclear how easily he read Latin. Early Life and Works His mother Màgia died in 1491 when Raphael was eight, followed on August 1, 1494 by his father, who had already remarried. Raphael was thus orphaned at eleven; his formal guardian became his only paternal uncle Bartolomeo, a priest, who subsequently engaged in litigation with his stepmother. He probably continued to live with his stepmother when not staying as an apprentice with a master. He had already shown talent, according to Vasari, who says that Raphael had been "a great help to his father". A self-portrait drawing from his teenage years shows his precocity. His father's workshop continued and, probably together with his stepmother, Raphael evidently played a part in managing it from a very early age. In Urbino, he came into contact with the works of Paolo Uccello, previously the court painter (d. 1475), and Luca Signorelli, who until 1498 was based in nearby Città di Castello. According to Vasari, his father placed him in the workshop of the Umbrian master Pietro Perugino as an apprentice "despite the tears of his mother". The evidence of an apprenticeship comes only from Vasari and another source, and has been disputed—eight was very early for an apprenticeship to begin. An alternative theory is that he received at least some training from Timoteo Viti, who acted as court painter in Urbino from 1495.Most modern historians agree that Raphael at least worked as an assistant to Perugino from around 1500; the influence of Perugino on Raphael's early work is very clear: "probably no other pupil of genius has ever absorbed so much of his master's teaching as Raphael did", according to Wölfflin. Vasari wrote that it was impossible to distinguish between their hands at this period, but many modern art historians claim to do better and detect his hand in specific areas of works by Perugino or his workshop. Apart from stylistic closeness, their techniques are very similar as well, for example having paint applied thickly, using an oil varnish medium, in shadows and darker garments, but very thinly on flesh areas. An excess of resin in the varnish often causes cracking of areas of paint in the works of both masters. The Perugino workshop was active in both Perugia and Florence, perhaps maintaining two permanent branches. Raphael is described as a "master", that is to say fully trained, in December 1500. His first documented work was the Baronci altarpiece for the church of Saint Nicholas of Tolentino in Città di Castello, a town halfway between Perugia and Urbino. Evangelista da Pian di Meleto, who had worked for his father, was also named in the commission. It was commissioned in 1500 and finished in 1501; now only some cut sections and a preparatory drawing remain. In the following years he painted works for other churches there, including the Mond Crucifixion (about 1503) and the Brera Wedding of the Virgin (1504), and for Perugia, such as the Oddi Altarpiece. He very probably also visited Florence in this period. These are large works, some in fresco, where Raphael confidently marshals his compositions in the somewhat static style of Perugino. He also painted many small and exquisite cabinet paintings in these years, probably mostly for the connoisseurs in the Urbino court, like the Three Graces and St. Michael, and he began to paint Madonnas and portraits. In 1502 he went to Siena at the invitation of another pupil of Perugino, Pinturicchio, "being a friend of Raphael and knowing him to be a draughtsman of the highest quality" to help with the cartoons, and very likely the designs, for a fresco series in the Piccolomini Library in Siena Cathedral. He was evidently already much in demand even at this early stage in his career. Influence of Florence Raphael led a "nomadic" life, working in various centres in Northern Italy, but spent a good deal of time in Florence, perhaps from about 1504. Although there is traditional reference to a "Florentine period...

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

Decorate a living room or study with this exquisite pair of antique paintings. Crafted in England circa 1860 in the Baroque slyle from the school of Godfrey Kneller, and set in the o...

Gilt-framed oil painting on board, signed "W. Mulready." Mulready was an Irish painter who worked in London, and a member of the Royal Academy, whose work today hangs in the V&A Muse...

A fine and large 19th century oil on canvas after Bartolomé Esteban Murrillo's (Spanish, 1617-1682) "Beggar Boys Playing Dice" (The original work by Murillo was painted in 1675). The impressive artwork depicts two young boys playing dice while another eats a piece of fruit as his dog watches on., within an ornate gildwood and gesso frame bearing a label from the faming company Bigelow & Jordan. The original work by Murillo is currently at the Alte Pinakothek Museum in Munich, Germany. The present work is signed: L. Rüber. Circa: Munich, Late 19th Century. Bartolomé Esteban Murillo (born late December 1617, baptized January 1, 1618 – April 3, 1682) was a Spanish Baroque painter. Although he is best known for his religious works, Murillo also produced a considerable number of paintings of contemporary women and children. These lively, realist portraits of flower girls, street urchins, and beggars constitute an extensive and appealing record of the everyday life of his times. Murillo was born to Gaspar Esteban and María Pérez Murillo. He may have been born in Seville or in Pilas, a smaller Andalusian town. It is clear that he was baptized in Seville in 1618, the youngest son in a family of fourteen. His father was a barber and surgeon. His parents died when Murillo was still very young, and the artist was largely brought up by his aunt and uncle. Murillo began his art studies under Juan del Castillo in Seville. There he became familiar with Flemish painting and the "Treatise on Sacred Images" of Molanus (Ian van der Meulen or Molano). The great commercial importance of Seville at the time ensured that he was subject to influences from other regions. His first works were influenced by Zurbarán, Jusepe de Ribera and Alonzo Cano, and he shared their strongly realist approach. As his painting developed, his more important works evolved towards the polished style that suited the bourgeois and aristocratic tastes of the time, demonstrated especially in his Roman Catholic religious works. In 1642, at the age of 26, he moved to Madrid, where he most likely became familiar with the work of Velázquez, and would have seen the work of Venetian and Flemish masters in the royal collections; the rich colors and softly modeled forms of his subsequent work suggest these influences. In 1645 he returned to Seville and married Beatriz Cabrera y Villalobos, with whom he eventually had eleven children. In that year, he painted eleven canvases for the convent of St. Francisco el Grande in Seville. These works depicting the miracles of Franciscan saints vary between the Zurbaránesque tenebrism of the Ecstasy of St Francis and a softly luminous style (as in Death of St Clare...

Elegant 19th century pastel portrait of French officer with gold wooden frame. Excellent condition. Measures: 73 x 62 cm and 57 x 46 cm.

Pretty oil on canvas restored (reentele) by: Emile van Marcke de Lummen. In the cleaning of the restoration, the letter: e is removed. Measures: 50 ...

Oil painting on canvas medical theme, home treatment of a chiropodist, Dutch school of the late eighteenth century - early nineteenth century. There ...

Hans Ruzicka Lautenschlaeger 19/20th century Oil on canvas. 52 x 41 cm unframed. Good condition.

Saskia smiling with feather bar (circa 1633). Oil on canvas. Exceptionally beautiful copy after Rembrandt, back titled - copy after No. 1556, the royal pai...

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 ...

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...