Baroque Wall Decorations

Early 18th century Italian Venetian inland painting, a large size oil on canvas Baroque mountain landscape with stream, bridge, waterfall, wayfarers and a village in the background. ...

Lovely set of 6 fruit or breakfast plates by Villeroy & Boch, Septfontaines, Luxembourg around 1978. Off-white porcelain with antique style decoration of traditional fruit, here ...

This is an Rare Antique French Wool & Silk Aubusson Tapestry 'Entre Fenetres (Over the Window)' shape. This incredible superb quality antique piece was woven in Aubusson South We...

This is an outstanding antique French tapestry in a fantastic Verdure and Bird Design- This magnificent wool piece incorporates impeccable attention to detail- This piece utilizes ex...

This is a magnificent vintage Olga Fisch Ecuadorian folk art rug. This handwoven textile features a vibrant and highly detailed composition of stylized human figures, animals, and sy...

A magnificent antique French tapestry depicting birds within a lush verdure setting, beautifully composed with intricate floral elements and scenic detail. This circa 1920 piece show...

Monumental 18th Century Aubusson Verdure Tapestry From the historical residence Chateau de Nernier, situated on the French side of Lake Geneva: A magnificent French verdure tapestry, woven in wool and silk at the renowned Aubusson workshops in the early 18th century. This richly detailed piece features a lush woodland landscape with delicate architectural elements and meandering waterways inhabited by elegant wading birds. The composition is framed by an intricately woven floral border that enhances the tapestry’s pastoral...

A magnificent antique French tapestry depicting a scene of people among a fountain, showcasing elegant composition and rich coloration, dating to circa 1920. Beautiful colorway, and ...

A set of four carved wooden wall consoles from Venice, dating to the 18th century. Each console is of similar form: a projecting top with a painted green surface, a frieze of scrolli...

17th century Italian oil painting of Mary surrounded by cherub angels framed with a 17th century Italian pediment and fluorite, pyrite, chalcedony, jasper, and barite natural specime...

A lovely collection of old antique iron skeleton keys. Found at an estate sale in Nuremberg, Germany. A nice addition to your collection or...

An evocative antique Continental European cavalry battle painting, believed to be executed in oil on a thin copper panel and presented in a substantial giltwood frame. The compositio...

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

Circle of Guido Reni, "Saint Sebastian," 17th Century Oil on canvas. 134 x 99.50 cm. Framed. This work depicts Saint Sebastian and is stylistically linked to the model established ...

In the dimly lit private chapels and wunderkammern (cabinets of curiosities) of 18th-century Europe, art was often utilized as a visceral conduit for spiritual contemplation. This st...

17th century, Italian Painting depict Saint Jerome by Hendrick Van Somer Dimensions: frame: 6 cm D x 156.5 cm W x 117 cm H; canvas: 137.5 cm W x 98 cm H The painting, of outstanding...

An important and atmospheric Flemish verdure tapestry dating to the 17th century, woven in Flanders during the height of European tapestry production. This composition presents a ser...

17th Century Flemish School Oil on Panel Painting. Painting depicts the head and shoulders of a bearded elderly man, presented in a carved and gilded period-style frame. The sitter i...

Antique 19th C. French Toile Peinte Hand Painted Tapestry after Reni "The Aurora" on Linen/Cotton. This antique hand painted textile depicts the famous 1614 Baroque ceiling fresco by...

This is a gorgeous antique square 17th Century flemish Verdure landscape tapestry with a beautiful and rich summer scene of a countryside with lush trees and vegetation. The piece m...

Weinmann Phytanthoza Iconographia Grape Engravings, Set of Four, Circa 1745 Circa 1745 This set of four color-printed and hand-finished botanical engravings of grape vines comes fro...

An impressive example of 17th-century Brussels tapestry design, this antique wool and cotton textile illustrates a charming pastoral scene associated with the European tradition of d...

An impressive mid-17th century finely woven Flemish historical tapestry depicting a scene from the History of Alexander the Great, likely ‘Alexander Offered a Crown,’ woven in wool a...

A Museum Quality piece, this is an exquisite example of a late 17th/ early 18th Century Brussels Baroque Mythological Tapestry. It is a complete piece with its original border, measu...

Pair of 1600s Nature Morte di Fiori by 17th-century Italian school, unframed. Oil paintings on canvas with a dark background and finely defined flowers these Baroque still lifes of ...

Beautiful large canvas landscape featuring peacock, owl, hawk, and a variety of birds landscape. Vivid colors. Signed L. Cassidy. Wonderfully framed. Curbside to NYC/Philly $450

A charming pair of Italian winged putti pinewood wall brackets, exquisitely carved and gilded. the two angel figures have their arms raised and they are topped by a shell-shaped top...

Italian School, late 18th century, after Raphael (Raffaello Sanzio): *The Grand Duke Madonna* Oil on canvas in a carved and gilded Baroque-style wooden frame; wax seal on the revers...

This late 17th century Franco-Flemish verdure tapestry, signed RAET, worked in fresh colors, depicting animals in a wooded river landscape with a bird of prey attacking a rabbit in t...

A finely painted early 19th century Russian Orthodox icon, Saint Nicholas of Myra, circa 1820. This traditional Russian icon is finely painted with egg tempera paint and gesso on a l...

A Baroque style French walnut bracket with hand-carved putti, circa 1800. Born during the tumultuous years of the early 19th century, this French bracket features a semi-circular sha...

Beautiful antique French tapestry depicting a scenic view including magnificent art nouveau motifs, beautiful trees, and greenery. A chic, neutral antique piece to add elegance to an...

Gorgeous blue hand painted Baroque cherub or angel 18th century style Portuguese ceramic tile/azulejo The tile painted in cobalt blue over white in typical 18th century Portugal set ...

8 Baroque Style Erotic Prints of Compromised Aristocrats & Soldiers, I (I is our inventory tag) Italy, 20th Century Prints,  This suite of eight Italian Baroque-style erotic prints ...

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

A wonderful 19th Century Italian religious textile banner with beautifully colored Our Lady Of Sorrows Mary, Mother of Jesus oleograph, original backing, rod, rope, fringe and tassel...

17th century Baroque sepia ink and wash with traces of red crayon old master drawing depicting Rebecca at the well. Rebecca is shown offering Eliezer a ewer of water if front of a br...

Salvator Rosa last 17th century giltwood frame. Internal measurements cm 24 x 32.5 Pure example of Italian Salvator Rosa gild wood frame of 17th century. "Salvator Rosa" is the famo...

Gorgeous blue hand painted Baroque cherub or angel 18th century style Portuguese ceramic tile/azulejo The tile painted in cobalt blue over white in typical 18th century Portugal set ...

This is very fine antique Flemish tapestry made of wool & silk depicting noblemen beneath a large verdure tree. This exquisite piece exhibits impeccable workmanship. A True work ...

This is a gorgeous antique square 17th Century flemish Verdure landscape tapestry with two slight figures in a beautiful and rich summer scene of a countryside with lush trees and ve...

This is a gorgeous full color antique 17th century Flemish Verdure landscape tapestry depicting a beautiful and rich summer scene of a countryside with lush trees and vegetation, and...

17th century French Baroque wool and silk tapestry. Work of Felletin, ca 1690 France.

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...

Mary Magdalene the Penitent oil painting on canvas, of Italian, Lombard origin, dates from the 17th century and is unframed, has been lined and restored to a new frame; this ancient...

This antique devotional oil painting was created in France circa 1680 and depicts the Madonna seated with the Christ Child across her lap, accompanied by a young angel in prayer. The...

This elegant pair of early 20th-century wall console brackets dates to the 1920s and showcases the refined decorative craftsmanship of the period....

Weinmann Botanical Mezzotint Prints of Aloes in Pots after Ehret, Set of Twelve Circa 1736 These rare and wonderful mezzotint prints of exotic plants in ceramic and metal pots were ...

This is a large gorgeous Large Antique 17th Century Brussels Religious Tapestry depicting a scene with a bishop and attendants standing on the right, along with kneeling and standing...

On offer an 18thc Large Beautiful French Wood Sculpture of a Putto/ Angel Figure. There are losses, on fingers, feet etc. Please look closely at ...

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

This is a gorgeous antique square 17th century flemish Verdure landscape tapestry without figures in a beautiful and rich summer scene of a countryside with lush trees and vegetation...

Splendid 17th-century Italian painting by unknown artist, but certainly a follower of Caravaggio, relying on style and drawing. The painting has a very beautiful gilded wooden frame, with a subtle greek with spheres and an overlying rectangular frame with sinuous flowers on each corner, very elegant and beautiful. The painting depicts one of the most depicted religious scenes ever, the scourging of Christ, and is entirely done in oil on copper. The scourging of Jesus is an episode narrated in the Gospels (Mk15:15-16; Mt27:26-27; Lk23:16-26; Jn19:1-17[1]). Scourging is a flogging, particularly bloody, by means of sticks, rods or cat-o-nine-tails, the latter instrument consisting, in the Roman typology, of a short stick to which were secured several strings ending in metal claws, leads and bone splinters that caused tremendous lacerations and fractures to the tortured person. Chains are used in this scene, both to immobilize Jesus Christ and to flog him, as we can see in the upper right hand of the scourger. According to some personal research, it turned out that the actual scourging of Christ was mostly depicted at the column, while this Christ is on the ground, so presumably Christ here is scourged during the Way of the Cross at one of those stages where he fell. The painting has a very dark coloring, which is why this painting is believed to faithfully follow Caravaggio's style of dry, authoritarian brushstrokes. The painting shows a figure agonizing on the ground that continues to receive beatings and floggings of all kinds, representing Christ; his face is crucified in a loquacious expression of pain, he turns his eyes to heaven as if to invoke God, but at the same time those same eyes admonish the wickedness and arrogance inherent in humanity. Christ has one hand resting on the ground in the act of holding himself, while the other takes a completely unnatural stance against the barren ground. His body appears hardened to wanting to parry the blows, his legs are curled up on his knees as he takes kicks from the soldier above him. Christ is depicted pinned down from the neck with a very large and strong black iron bolt held by the other soldier. The soldier on the right in the foreground wears a one-shoulder tunic with an orange tunic and blue pants. On his feet he wears gray shoes, at his waist he has a belt with an iron helmet...

French Engraving Hand Colored Galerie des Modes Costumes Francais, 1779. Rare antique French fashion print hand colored published first ...

Antique French Tapestry Verdure Signed Wool & Silk A magnificent antique French tapestry depicting a castle amongst a river, verdure, and exotic birds. Beautiful colorway, and a...

An antique pair of Portuguese Baroque hand carved Pinewood architectural wall reliefs with richly ornate detailed scrolls, Acanthus leaves and masks, in good condition. Original pain...

Italian Oil Painting on Canvas in a Giltwood Florentine Frame 18th Century This finely painted Italian oil on canvas, presented behind glass, dates from the 18th century and is belie...

C. Maratta went to Rome in 1636 and became an apprentice in the Studio of Andrea Sacchi. Pope Alexander VII commissioned many paintings from him. Maratta’s paintings of the later 165...

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

19th Century Cuzco School Oil on Canvas of Archangel Zadkiel Peruvian Cuzco School Oil Painting on Canvas of the Archangel Zadkiel, holding aloft a blazing fire. Later Frame. Wear ...