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Baroque Wall Decorations

BAROQUE STYLE

The decadence of the Baroque style, in which ornate furnishings were layered against paneled walls, painted ceilings, stately chandeliers and, above all, gilding, expressed the power of the church and monarchy through design that celebrated excess. And its influence was omnipresent — antique Baroque furniture was created in the first design style that truly had a global impact.

Theatrical and lavish, Baroque was prevalent across Europe from the 17th to mid-18th century and spread around the world through colonialism, including in Asia, Africa and the Americas. While Baroque originated in Italy and achieved some of its most fantastic forms in the late-period Roman Baroque, it was adapted to meet the tastes and materials in each region. French Baroque furniture informed Louis XIV style and added drama to Versailles. In Spain, the Baroque movement influenced the elaborate Churrigueresque style in which architecture was dripping with ornamental details. In South German Baroque, furniture was made with bold geometric patterns.

Compared to Renaissance furniture, which was more subdued in its proportions, Baroque furniture was extravagant in all aspects, from its shape to its materials.

Allegorical and mythical figures were often sculpted in the wood, along with motifs like scrolling floral forms and acanthus leaves that gave the impression of tangles of dense foliage. Novel techniques and materials such as marquetry, gesso and lacquer — which were used with exotic woods and were employed by cabinetmakers such as André-Charles Boulle, Gerrit Jensen and James Moore — reflected the growth of international trade. Baroque furniture characteristics include a range of decorative elements — a single furnishing could feature everything from carved gilded wood to gilt bronze, lending chairs, mirrors, console tables and other pieces a sense of motion.

Find a collection of authentic antique Baroque tables, lighting, decorative objects and other furniture on 1stDibs.

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Style: Baroque
Vintage Italian Grand Tour Style Pietra Dura Mosaic Plaque, Framed 2
Located in Bradenton, FL
A beautiful Italian grand Tour Style Pietra Dura mosaic on marble Plaque with gilt framing. Picture is a bird on branch with leaves and flowers.
Category

Early 20th Century Italian Baroque Wall Decorations

Materials

Marble

Flemish Brass Alms Plate
Located in Essex, MA
With shield in center surrounded by gadrooned and hammered decoration.
Category

17th Century European Antique Baroque Wall Decorations

Materials

Brass

19th-C. Continental Baroque Tapestry Depicting Boar’s Head Feast - Wall Art
Located in Kennesaw, GA
This is a 19th century continental tapestry depicting the Boar’s head feast. The tapestry is mounted on a large wooden stretcher with hanging wire. The Boar’s Head feast originated i...
Category

Late 19th Century European Antique Baroque Wall Decorations

Materials

Wool, Silk

Vintage Baroque Rococo Style Ornate Gold Wooden Corbel Wall Pocket Shelves 9"
Located in Dayton, OH
2 Gold sconces in the manner of Baroque / Rococo. Features am ornate acanthus relief with 3 lobe shelf. Hangs along the back via brackets. Dimensions: ...
Category

Late 20th Century Baroque Wall Decorations

Materials

Giltwood

2 Francois Boucher Antique Baroque Mezzotint Poetry Engravings Mother Cherubs
Located in Dayton, OH
Pair of Francois Boucher Mezzotint Engravings from the first half of the 20th century. The colored engravings have a classical design with a Poetry theme. Matted and framed in gol...
Category

Early 20th Century Baroque Wall Decorations

Materials

Paper

Antique Ornament Gold Wood Frame, circa 1930
Located in Barcelona, Barcelona
Antique Ornament Gold Wood Frame. Manufactured France, circa 1930. Materials: Wood Dimensions: D 3.5 x W 30 cm x H 35.5 cm In original...
Category

1930s French Vintage Baroque Wall Decorations

Materials

Wood

American School Memento Vanitas Still Life Canvas Painting
Located in Rio Vista, CA
Impressive oil on canvas memento mori or omnia vanitas still life painting. The site measures 15.5 inches wide and 12.5 inches high. Set i...
Category

20th Century American Baroque Wall Decorations

Materials

Canvas, Wood

18th Century Continental Tapestry Fragment with Putti or Angels and Cartouche
Located in Milford, NH
A nice example of a Continental hand wrought tapestry decorated with putti or angels and cartouche, with foliate accents and subtle tan border with raised flowers. The tapestry has a...
Category

18th Century European Antique Baroque Wall Decorations

Materials

Wool, Silk

Pair of 18th c Belgian Mounted Tapestry Fragments with Putti or Angels
Located in Milford, NH
Pair of Brussels tapestry fragments finely woven of silk and wool featuring angels or putti carrying a basket of flowers above their heads. Opposing angels, one with a gold draped cl...
Category

1720s Belgian Antique Baroque Wall Decorations

Materials

Wool, Silk, Wood

Italian Baroque Style Painted And Gilt Wall Bracket
Located in Houston, TX
Italian Baroque Style Painted And Gilt Wall Bracket. This stunning Italian Baroque style carved wood has a beautiful painted and parcel gilt finish and a large top surface area for y...
Category

1920s Italian Vintage Baroque Wall Decorations

Materials

Wood

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

17th Century Italian Antique Baroque Wall Decorations

Materials

Paint

San Francisco Symphony Opening Night by Betty Guy Numbered Letterpress c. 1979
Located in Ross, CA
Limited edition three color letterpress print signed, titled and numbered by Betty Guy. The debossed print is titled "San Francisco Opera Opening Night 1979", it is numbered 8/50. Th...
Category

1970s American Vintage Baroque Wall Decorations

Materials

Paper

Botanical Print, Corona Imperialis Polvanthus, After Basil Besler
Located in Bradenton, FL
The hand-colored botanical print, Corona Imperialis Polyanthos or Crown Imperial Lily, was originally by Basil Besler (1561-1629) a Nuremberg, Germany pharmacist, and published in t...
Category

20th Century German Baroque Wall Decorations

Materials

Paper

Tapestry Royal Manufacture of Aubusson, Louis XVI period 1738 at the Gobelins
Located in Madrid, ES
Tapestry from the Royal Manufacture of Aubusson, Louis XVI period , made in 1738 at the Gobelins One panel from a series of Gobelins tapestries depicting the History of Esther, illustrating Esther seated and attended by handmaidens, one washing her feet in golden basin, another fastening a bracelet, another offering a mirror, all observed by Mordecai, woven in the workshop of Michele Audran after a design by J. F. de Troy. The Toilet of Esther c.1778-85.Royal Collection Trust-Queens Audience Chamber Windsor Castle The Sketches for the Esther Cycle by Jean-François de Troy (1736) “and the maid was fair and beautiful; whom Mor’decai, ..., took for his own daughter.” (Est. 2:7) A supple and undulating genius, both a flattering portraitist and a prolix history painter, as well as a brilliant genre painter, in a gallant or worldly vein, Jean-François de Troy (Paris, 1679 – Rome, 1752), solicited, although he had passed the threshold of old age, a new royal commission up to his ambitions. To obtain it, he submitted – successfully - for the approval of the Bâtiments du roi (administration), seven modelli painted in 1736 with his usual alacrity. Inspired by one of the most novelistic texts of the Old Testament, the Book of Esther, these sketches in a rapid and virtuoso manner were transformed by the artist, between 1737 and 1740 into large cartoons intended to serve as models for the weavers of the Gobelins factory. Showing undeniable ease and skill in the composition in perfect harmony with the sensitivities of the times, the tapestry set met with great success. The Story of Esther perfectly corresponded to the plan of the Bâtiments du roi to renew the repertoire of tapestry models used for the weavers of the royal factories while it also conformed to the tastes of Louis XV’s subjects for a fantastical Orient, the set for a dramatic tale in which splendour, love and death were combined. Indeed, no tapestry set was woven in France during the 18th century as often as that of Esther. The series of modelli painted by de Troy during the year 1736 looks to the history of French painting and decoration under Louis XV as much as it does the history of the Gobelins. It probably counts among the most important rococo pictorial groups to have remained in private hands. First the Biblical source illustrated by De Troy which constitutes the base of one of the richest iconographical traditions of Western art will be considered. Then the circumstances and specific character of French civilisation during the reigns of Louis XIV and Louis XV which contributed to making the theme of Esther a relevant subject, both attractive to contemporaries and remarkably in line with the sensitivities of the time will be elucidated. An examination of the exceptional series of sketches united here, the cartoons and the tapestries that they anticipate as well as a study of their reception will close this essay. The Book of Esther: A scriptural source at the source of rich iconography. The origin of the Esther tapestry set by Jean-François de Troy – origin and creation of a masterpiece According to the evidence of one of the artist’s early biographers, the chevalier de Valory, author of a posthumous elegy of the master, read at the Académie royale de peinture et de sculpture on 6 February 1762, it was apparently due to early16 rivalry with François Lemoyne (1688-1737), his younger colleague who had precisely just been appointed First Painter to the King in 1736, that had encouraged François de Troy to seek a commission allowing him to show off his ease and his promptitude at the expense of a rival who was notoriously laborious: “M. De Troy, retaining some resentment of the kind of disadvantage which he believed to have suffered compared with his emulator looked to regain some territory by making use of the facility his rival did not possess. Lemoyne was excessively long in the creation of his works,and M. De Troy of a rare celerity: consequently, with this particular talent, the latter offered to the court to make paintings appropriate to be executed at the Gobelins Factory; and it is to this circumstance that we owe the beautiful series of the Story of Esther, which would be sufficient alone to give him a great reputation.”17 Beyond the suspicion inspired by the topos, which still constitutes, more or less, a tale of rivalries between artists in ancient literature, there is probably some truth in what Valory reports although A.-J. Dezalier d’Argenville (who indicates rather spitefully that de Troy did not hesitate to “cut prices” to impose himself, benefitting from the productivity assured by the unlikely rapidity of his brush)18 proves to be more evasive: “As he looked to busy himself, he had offered to make the paintings that serve as models for the King’s tapestries cheaply: which did not please his colleagues. He was given a choice of two tapestry series to be made and he took the Story of Esther and that of Jason”.19 Whether or not the choice was actually left to de Troy (which would appear rather casual on the royal administration’s part all the same), it seems likely that the artist, whose contemporaries extol his “fire”, as the faculty of invention was then called, must have ardently aspired to the possibility of using on a very large scale the “creative genius” with which Dezallier d’Argenville credits him. The decoration of the private apartments, the fashion for which Louis XV had promoted at Versailles and Fontainebleau, offered little opportunity to excel in this area. Other than painting for altarpieces, only tapestries could allow comparison with Lemoyne who had been granted – unfortunately for him – a major decoration: the enormous ceiling of the Hercules Room at Versailles. Favoured by the recent improvement in France’s financial situation, the revival of patronage offered de Troy a commission fitting for him, in a field in which, however, he had hardly any experience. Anxious to renew the repertoire of models available to the Gobelins factory, the Duc d’Antin, surintendant des Bâtiments du roi from 1708 to 1736 followed by his successor, Philibert Orry comte de Vignory, gave him the task of producing seven large cartoons inspired by the Book of Esther corresponding to the brilliant sketches or modelli which de Troy had produced in one go, or almost (very few preparatory drawings can in fact be linked to the Esther cycle and all seem to be at the execution stage of the cartoons).20 Subjected to the approval of the Administration des Bâtiments according to the procedure in use for projects being planned for the Gobelins, sketches made rapidly during 1736 were approved and the project launched immediately. Thereupon came the news of François Lemoyne’s death, who, ground down by work and a victim of his private torment, committed suicide on 4 June 1737. Against all expectations, de Troy did not replace his rival in the position of First Painter (which remained vacant until the appointment of Charles Coypel in January 1747), which would perhaps have made him too obviously the beneficiary of the drama. The awarding of the position of Director of the French Academy in Rome came to console him while he had already produced (or he was in the process of finishing), in Paris, three of the seven cartoons of the cycle (The Fainting of Esther finished in 1737 and the Toilet and Coronation of Esther, both finished in 1738). De Troy, we can see, did not follow the order of the narrative but began with the subjects which apparently offered the least difficulty because he had already depicted them, or because they fall into a strong pictorial tradition (such is the case especially for the Fainting of Esther). He had hardly settled at the Palazzo Mancini in August 1738, when his first task which awaited the new director of the French Academy naturally consisted of honouring the royal commission and finishing without delay the final cartoons of the Story of Esther after the sketches he must have taken with him. As prompt as ever, de Troy discharged himself of the execution of the four remaining cartoons in only two years, by beginning with the largest format which allowed him to strike the imagination and to impose himself as soon as he arrived on the Roman stage: the Triumph of Mor’decai which was finished in 1739 (like Esther’s Banquet). The following year, the Mor’decai's Disdain and The Sentencing of Haman were brought to an end in the same Neo-Venetian style, obviously tributary to Veronese with its choice of “open” monumental architecture which is characteristic of the entire cycle.21 The series, it should be noted, was almost augmented with some additional scenes in the mid 1740s. Indeed, the first tapestry set finished at the Gobelins in 1744 proved to be unsuitable for the arrangement of the Dauphine’s apartments at Versailles for which it had been intended to decorate the walls the following year (cf infra). Informed of this, de Troy, considering that the story of Esther offered “several good subjects,” immediately offered to illustrate one or new subject among those “which could appear to be the most interesting”. The directeur des Bâtiments Orry, who managed the State’s accounts, obviously judged it less costly to have one of the tapestries widened to fill in the end of the Dauphine’s bedroom,22 which has probably deprived us of very original compositions, because de Troy had already illustrated the most famous themes, those that benefitted from a strongly established iconographical tradition and from which it was not easy to deviate The Tapestry Set of the Story of Esther Placed on the tapestry looms of the Gobelins at the end of the 1730s in Michel Audran’s workshop, the cycle created by de Troy aroused true infatuation. The few hundred tapestries made between 1738 and 1797 – all in high-warp tapestry and woven in wool and silk except for four in low-warp made in Neilson’s workshop – show the impressive success of a tapestry set that was without any doubt the most frequently woven of the 18th century in France. 29 Only three cartoons had been delivered by de Troy in 1738 when the first tapestry set was begun by Audran under the expert eye of Jean-Baptiste Oudry to whom the Directeur général des bâtiments, Philibert Orry had assigned the (weekly) supervision of the weaving. During the summer of 1738, the piece of the Fainting of Esther, which Oudry judged to be admirable, was finished. During the winter of 1742, Oudry informed Orry that about two ells of the Triumph of Mor’decai had been made “with no faults”,that the Coronation of Esther was finished and that the Esther at her Toilet “a very gracious tapestry” was “a little over half” finished. Exhibited at Versailles in 1743, these two last pieces were admired by Louis XV and the Court. On 3 December 1744, the set of seven tapestries was finally delivered to the Garde Meuble. It was intended, the honour was not slight, to decorate the apartments of the Infanta Maria Teresa Rafaela of Spain whose marriage to the young Dauphin Louis-Ferdinand had been fixed for the following year (it took place on 23 February 1745). Apparently it was thought that the theme of Esther the biblical heroine and wife of a foreign sovereign was appropriate for the apartments of the Spanish Dauphine. As early as the month of March, the architect Ange-Jacques Gabriel informed de Troy that her grand cabinet was decorated with the “Esther tapestry set” specifying however that “for lack of two small or one large piece, we have not been able to decorate the end of the room”. This difficulty led immediately to the Banquet episode being woven a second time in two parts (they were delivered to the Garde-Meuble on 30 December 1746) to garnish the panels on each side of the bed of the Dauphine who would hardly enjoy them (she died on 22 July 1746 and the decoration was installed for the new Dauphine Maria Josepha of Saxony). The appearance of the set’s remarkable border, which imitated a richly sculpted wooden frame, should be mentioned. Conceived in 1738 by the ornamentalist Pierre Josse-Perrot and used in the later weavings until 1768, it tended to reinforce the resolutely painterly appearance of the tapestry set which, in this regard, pushed the art of tapestry as far as its ultimate mimetic possibilities. With the exception of Mor’decai's Disdain which had been removed earlier, the “editio princeps” of the story of Esther (from then on in nine pieces) remained at Versailles until the Revolution. Of the eight surviving tapestries, four are at the chateau of Compiègne and four belong today to the Mobilier National. No less than seven tapestry sets reputed to be complete (one of them in fact only had six tapestries) would be produced officially at the Gobelins up to 1772. Literature: 1- The Œuvres mêlées of an emulator of Racine, the Abbé Augustin NADAL thus include an Esther. Divertissement spiritual which is exactly contemporary with Jean François de Troy’s cycle since it was performed in 1735 and published in Paris three years later. 2-Le Siècle de Louis XIV, 1751, 1785 ed., p. 96-97 for French ed. 3- Lemoyne and de Troy had been obliged to share the First Prize in the competition organised in 1727 between the most prominent history painters of the Académie Royale. 4- Mémoires…, pub. L. DUSSIEUX et al., 1854, II, p.265. 5-The fact that de Troy, at the risk of falling out with his colleagues, did not hesitate to make use of prices in order to convince the new directeur des Bâtiments Philibert Orry, is confirmed by Mariette who adds tersely “it caused much shouting” (pub. 1851-1860, II, p. 103). 6- Abrégé de la vie des plus fameux peintres…, ed. 1762, IV, p. 368-369 20 Early comments on the painter are inclined to present him as a kind of “pure painter”, doing without the medium of drawing, a few intermediary studies between the Esther sketches and the large cartoons at the Louvre nevertheless show that de Troy used red chalk (see in the catalogue, the notice for the Meal of Esther and Ahasuerus under the entry drawing) to change one or other figure. 7-C. GASTINEL-COURAL (cat. exp. PARIS, 1985, p. 9-13) as well as the article by J. VITTET, exh. cat. LA ROCHE-GUYON, 2001, p. 51-55. 8-The Hermitage in St. Petersburg conserves five tapestries of these two royal gifts whose provenance still awaits elucidation (as far as we are aware). In 1766, the Grand Marshal of Russia, Count Razumovski (or Razamowski), acquired the Fainting and the Banquet extracted from the sixth weaving (J. VITTET, 2001, p. 53). 9- Lettres écrites de Suisse, d’Italie…,quoted by J. VITTET, op. cit., p. 54. 10-The tapestry set remained in the hands of a branch of the Hapsburg-Lorraine family until 1933 (ibid. P. 54). 11-Quoted by Chr. LERIBAULT, 2002, p. 97, note 269. 12-Y. CANTAREL-BESSON, 1992, p. 241. Catalogue The Esther at her Toilet Oil on canvas, 57 x 51 cm Provenance: Painted in 1736 at the same time as the six other modelli of the Story of Esther intended to be presented, for approval, to the direction des Bâtiments du Roi; perhaps identifiable among a lot of sketches by Jean-François de Troy in the post mortem inventory of the amateur, historian and critic Claude-Henri Watelet (1718-1786) drawn up on 13 January 1786 and following days (A.N. T 978, n° 30) then in the sale of the property of the deceased, Paris, 12 June 1786, n° 33; Paris, François Marcille Collection (who owned a series of six sketches from which the Triumph of Mor’decai was missing, see infra); Paris, Marcille Sale, Hôtel Drouot, 12-13 January 1857, n° 36; Asnières, Mme de Chavanne de Palmassy ( ?) collection; Paris, Galerie Cailleux; Paris, Humbert de Wendel collection (acquired from the Galerie Cailleux in 1928); by inheritance in the same family; Paris, Sotheby’s, 23 June 2011, n° 61. In order not to add unnecessarily to the technical commentary on each work, the catalogue raisonné by Chr. Leribault which contains a substantial bibliography on the series should be referred to. The other bibliographical references only concern the publications and exhibitions to have appeared and been presented more recently. Bibliography and Exhibitions: Chr. LERIBAULT, 2002, n° P. 247 (repr.); E. LIMARDO DATURI, 2004, p. 28; Exh. cat. NANTES, 2011, p. 138, n° 34, referred to in note 1; Sotheby’s catalogue, Tableaux anciens et du XIXe siècle, 23 June 2011, n° 61 (repr.). Related Works: Tapestry cartoon: The cartoon (oil on canvas, 329 x 320 cm), the third made by the artist in Paris after the sketches had been approved by the direction des Bâtiments, is in the Louvre (Inv. 8315). It previously bore the painter’s signature and the date 1738 (inscriptions which are found on the tapestries). The royal administration paid 1600 livres for it on 21 June 1738 and it was exhibited at the Salon in the year of its creation. Summary Biography 1679 (27 January): Baptism in Paris (Parish of St. Nicolas du Chardonnet) of Jean-François de Troy, son of the painter François de Troy and Jeanne Cotelle, sister of the painter Jean II Cotelle. 1696-1698: Studies (apparently rather turbulent) at the Académie royale de peinture et de sculpture. 1698-1708: First trip to Italy. Is obliged to leave Rome in January 1711 after a tempestuous affair (a duel?), de Troy extends the traditional Roman experience as a pensionnaire at the Académie de France by also visiting Tuscany where he stays for a long time, Venice (his art in face has a strongly Venetian character) and Genoa. 1708: De Troy (whose father had been elected Director of the Académie royale de peinture et de sculpture on 7 July) is agréé and immediately received at the Académie with Apollo and Diana Piercing with their Arrows the Children of Niobe (Montpellier, Musée Fabre) on 28 July. 1710: First royal commission, paid for on 10 May (a sketch representing “the Promotion of the Order of the Holy Spirit” for the tapestry series of the History of the King). 1716: Jean-François de Troy is elected Assistant Professor at the Academy. 1720: He is appointed Professor. 1723: The artist creates the double portrait of Louis XV...
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Early 18th Century French Antique Baroque Wall Decorations

Materials

Silk, Wool

A naive oil painting of a winged lady with rifle
Located in Cheltenham, GB
Hutton-Clarke Antiques is pleased to Present a unique 20th-century oil painting, this piece is a remarkable blend of the naive art style with distinct Latin American influences. The ...
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Mid-20th Century Spanish Baroque Wall Decorations

Materials

Canvas

Antique Italian Oil Painting of a Family Tree
Located in Newport Beach, CA
Hand painted, oil paint on canvas of an Italian family tree featuring a male figure, crests and names, all in the design of a tree. Framed in an antique, hand-carved gilt-wood fram...
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18th Century Italian Antique Baroque Wall Decorations

Materials

Canvas, Giltwood, Paint

Magnificent Flemish Historical Tapestry the Bull Hunting, 17th Century
Located in Rome, IT
outstanding tapestry in wool and silk, Bruxelles, second half of the 17th century. Depicting a detailed scene of The Bull Hunting. On the background of the landscape the Monument of ...
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17th Century Belgian Antique Baroque Wall Decorations

Materials

Tapestry

Antique Wool and Silk Tapestry from Brussels, Circa 1650
Located in Dallas, TX
Hand-woven in Brussels, circa 1650, this wool and silk tapestry depicts a church scene with six clergymen at an altar. After roughly 375 years, the colors are still vibrant, highlighted by fabrics of blue that punctuate the predominately gold, cream, and brown fibers of the textile. Two young bishops, possibly receiving their consecration, kneel on the steps of the altar, dressed in a cassock beneath a chimere, with one holding a thurible and the other a biretta. A third bishop stands in front of them, as two elder clergymen look on from the right of the altar. The older of the two holds a crozier and a biretta with arms extended from beneath a luxurious blue and gold ferraiolo. On the opposite side of the altar is the sixth and final bishop, who is wearing his biretta and holding a mitre. The luxurious altar is adorned with tall gilt candlesticks...
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Mid-17th Century Belgian Antique Baroque Wall Decorations

Materials

Textile, Wool, Silk

IMPORTANT LARGE PAINTING Venetian School 18th Century H 275cm / 108.26 inches
Located in Madrid, ES
IMPORTANT LARGE PAINTING Venetian School 18th Century with a mythological subject depicting the God Apollo in the foreground with his lyre in a French garden probably of the palace ...
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18th Century Italian Antique Baroque Wall Decorations

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Paint

"The Tears of Saint Peter" Follower Domenikos Theotokopoulos- El Greco 19th Cent
Located in Madrid, ES
"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...
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19th Century Spanish Antique Baroque Wall Decorations

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Paint

"Madonna With Sleeping Child, Follower Of Giovan Battista Salvi Il Sassoferrato
Located in Madrid, ES
"Madonna With Sleeping Child, Follower Of Giovan Battista Salvi Il Sassoferrato (1609 - 1685)" Madonna with Sleeping Child Follower of Giovan Battista Salvi known as 'il Sassoferrato...
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18th Century Italian Antique Baroque Wall Decorations

Materials

Paint

Rare Antique French Tapestry Handmade Tapestry Flowers Verdure 6x8 167x 234cm
Located in New York, NY
Rare Antique French Tapestry Handmade Tapestry Flowers Verdure 6x8ft 5'6" x 7'8" 167cm x 234cm A magnificent antique French tapestry depicting exotic flowers amongst a verdure setti...
Category

1920s French Vintage Baroque Wall Decorations

Materials

Wool

Italian School "Apostle" 17th Century
Located in Madrid, ES
Italian School "Apostle" 17th Century Oil on oak wood Carved and gilded wooden frame. Small defects. Dim.: 44 x 58 cm good conditions
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17th Century Italian Antique Baroque Wall Decorations

Materials

Paint

Luigi Miradori circa 1600 - circa 1657 "Young Sleeping Child" 17th Century VIDE0
Located in Madrid, ES
Luigi Miradori Italian circa 1600 - circa 1657 "Young Sleeping Child" 17th century Luigi Miradori was an Italian Old Masters painter who was born in th...
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Early 17th Century Italian Antique Baroque Wall Decorations

Materials

Paint

"SAINT MATEUS" Italian School from the 18th Century
Located in Madrid, ES
"SAINT MATEUS" Italian School from the 18th century. Oil on canvas. Dim.: 54 x 38cm good condition
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18th Century Italian Antique Baroque Wall Decorations

Materials

Paint

Antique 1702 Swedish Baroque Architectural Etchings - Set of 3
Located in Seguin, TX
Set of 3 antique circa 1702 architectural etchings by Johannes van den Aveelen. Includes the Tessin Palace in Stockholm, Swedish Bank and Schellnora estate. From a large series of ...
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Early 1700s Swedish Antique Baroque Wall Decorations

Materials

Paper

Set of 16 Blue and White Delft Tiles with Animals and Figures, 18th Century
Located in AMSTERDAM, NH
Germany Ansbach 18th century A set of 16 blue and white, with manganese tint, tiles with decorations of animals and figures. Very fine painting and much detail in the animals and fi...
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Mid-18th Century German Antique Baroque Wall Decorations

Materials

Ceramic, Majolica, Faience

Dutch School, 19th Century "Landscape"
Located in Madrid, ES
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...
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Mid-19th Century Dutch Antique Baroque Wall Decorations

Materials

Paint

Antique 1698 Swedish Baroque Manor Estate Etchings - Set of 3
Located in Seguin, TX
Set of 3 antique 1698 bird's-eye view etchings of Baroque Swedish estates and gardens by Johannes van den Aveelen, 1698. Includes Noor, Roserberg and Malma. From a large series of e...
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Early 1700s Swedish Antique Baroque Wall Decorations

Materials

Paper

A Pair of Continental Paintings, Depicting Allegories Of Africa and Asia
Located in Dallas, TX
A Pair of continental paintings, Depicting allegories, two of the Continents the Americas and Eurasia. 19th Century ( second half ) MEASUREMENTS: Frame 63.75" H x 13.25" W x 1.75" ...
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19th Century English Antique Baroque Wall Decorations

Materials

Paint

A Pair of 19th Century Tall Painted Panels
Located in Dallas, TX
A Pair of 19th Century tall painted panels, oil on canvas, finely painted with flowers, folager and scolly, framed. Circa 1860. England. MEASUREMENTS: Frame 106" H x 33.25" W x 2.5...
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19th Century English Antique Baroque Wall Decorations

Materials

Canvas, Paint

Virgin Annunciate, Emilian school, 17th century.
Located in Brescia, IT
Virgin Annunciate, Emilian school, 17th century. Oil painting on canvas depicting the Madonna, caught while, with her eyes half-closed and the right hand on his chest, receives th...
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1680s Italian Antique Baroque Wall Decorations

Materials

Canvas

Pair of Italian Baroque Green Frames 1700 decorated with Putti and Landscapes
Located in Milan, IT
Pair of Baroque Frames With Putti and Landscape carved in a single basswood board and composed of richly carved foliage and and chasing scrolls and intertwine until culminating at t...
Category

Early 1700s European Antique Baroque Wall Decorations

Materials

Harewood, Paper

Kitchen interior, oil painting on canvas, northern Italy, 17th century
Located in Brescia, IT
Kitchen interior, oil painting on canvas, northern Italy, 17th century Two characters, still life with rich game and vegetables, tableware, a dog and a cat. Northern Italy, 17th ...
Category

1680s Italian Antique Baroque Wall Decorations

Materials

Canvas, Wood

Set of 18th Century Spanish Carved Panels
Located in Los Angeles, CA
Set of 18th century Spanish wood panels with fine hand carved details throughout. The center panel has a shield that is draped with carved tassels. Crossed swords are in the center with fleur-de-lis throughout. The hat with tassels is the emblem of a Cardinal. It is known as a galero. When a Cardinal dies, his galero is hung from the ceiling of the cathedral. The three pieces were probably part of an antique cathedral.
Category

18th Century Spanish Antique Baroque Wall Decorations

Materials

Walnut

Sacrifice of the Mosaic Law. Oil on copper. 17th century, after RUBENS.
Located in Madrid, ES
Sacrifice of the Mosaic Law. Oil on copper. 17th century, inspired by RUBENS, Pedro Pablo (Siegen, 1577-Antwerp, 1640). Oil on panel showing a figurative scene located in a building...
Category

17th Century Spanish Antique Baroque Wall Decorations

Materials

Copper, Other

Early 17th Century Flemish Verdure Landscape Tapestry with Birds
Located in New York, NY
This is a gorgeous antique Early 17th century Flemish Verdure landscape tapestry depicting a beautiful and rich summer scene of a countryside with lush trees and vegetation, and bird...
Category

17th Century Dutch Antique Baroque Wall Decorations

Materials

Silk

Beautiful Roman School of the 17th Century " Jesus among the Doctors "
Located in Madrid, ES
Roman school of the 17th century Jesus among the Doctors 103X71 cm good conditions Jesus among the doctors is a fresco (200x185 cm) by Giotto, dat...
Category

17th Century Italian Antique Baroque Wall Decorations

Materials

Paint

Heraldic coat of arms of the 17th century
Located in Brescia, IT
Artist active in northern Italy, 17th century Heraldic coat of arms: shield quartered at first and fourth in black with a rampant lion, to the second and third gold eagle Carved...
Category

17th Century Italian Antique Baroque Wall Decorations

Materials

Wood

Late 17th-Early 18th Century Pair of French Needlework
Located in Chapel Hill, NC
Late 17th to early 18th century pair of French silk needlework on linen fragments. Featuring magnificent baroque urns spilling rare flowers against vines crowned & encapsulating fleu...
Category

Early 18th Century French Antique Baroque Wall Decorations

Materials

Linen, Silk

Leather relief depicting Madonna enthroned with Child on her lap
Located in Brescia, IT
Madonnna with Child Leather relief depicting Madonna Enthroned with Child on her lap. Formerly encased and fixed on a papier background. Visible beneath the surface patina are tra...
Category

1670s Italian Antique Baroque Wall Decorations

Materials

Animal Skin, Leather

Giacinti Brandi ( 1621-1691 ) " S. Giovannino " 17th Century with Video
Located in Madrid, ES
Giacinti Brandi ( 1621-1691 ) " S. Giovannino " 17th Century Important Baroque painting attributable to the hand of the great Roman old master Giacinto Brandi. It depicts San Giovan...
Category

17th Century Italian Antique Baroque Wall Decorations

Materials

Paint

Antique 1728 James Gibbs Architectural Ornament Engravings - Set of 3
By James Gibbs
Located in Seguin, TX
Set of 3 Architectural ornament engravings from the folio by James Gibbs. Published by Bowyer, London, 1728. Unframed, age toning, edge wear, small edge loss.
Category

Early 18th Century English Antique Baroque Wall Decorations

Materials

Paper

"Saint Sebastian" by Carlo Saraceni 19th Century Italian School with Video
Located in Madrid, ES
"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...
Category

Late 19th Century Italian Antique Baroque Wall Decorations

Materials

Paint

Beautiful Baroque Style Tole Toleware Gilded Wall Console Shelf Germany 1950s
Located in Nuernberg, DE
Offered is an absolutely stunning, 1950s wall console or shelf. Minor patina gives this piece a classy statement. Made of hand craft wood, covered with plaster and gilded. Use just a...
Category

1950s German Vintage Baroque Wall Decorations

Materials

Plaster, Wood

Painting, Sanguine on Paper by Jean Robert Ango (1710-1773), XVIIIth Century.
Located in Saint-Ouen, FR
Painting, Sanguine on Paper by Jean Robert Ango (1710-1773), XVIIIth Century. Sanguine, drawing on paper of a notable man of the town, framed from the XVIIIth century by Jean Robert...
Category

18th Century European Antique Baroque Wall Decorations

Materials

Wood, Paper

Sanguine on Paper by Jean Robert Ango (1710-1773), XVIIIth Century.
Located in Saint-Ouen, FR
Sanguine on Paper by Jean Robert Ango (1710-1773), XVIIIth Century. Sanguine, drawing of a woman with her child on framed paper from the 18th century by Jean Robert Ango . Drawing:...
Category

18th Century European Antique Baroque Wall Decorations

Materials

Wood, Paper

ITALIAN SCHOOL "TOBIAS AND THE ARCHANGEL RAFAEL" 18th Century
Located in Madrid, ES
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...
Category

Early 18th Century Italian Antique Baroque Wall Decorations

Materials

Paint

19th Century Winter Landscape Painting, Netherlands Baroque Style
Located in Lisbon, PT
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...
Category

19th Century Dutch Antique Baroque Wall Decorations

Materials

Canvas

Italian Oil on Canvas Boiserie Room Painting
Located in Newport Beach, CA
Hand painted architectural painting from an 18th century boiserie room.
Category

18th Century Italian Antique Baroque Wall Decorations

Materials

Canvas, Wood, Paint

Kitchen interior, oil painting on canvas, northern Italy, 17th century
Located in Brescia, IT
Kitchen interior, oil painting on canvas, northern Italy, 17th century Two characters, still life with rich game and vegetables, tableware, a dog and a cat. Northern Italy, 17th ...
Category

1680s Italian Antique Baroque Wall Decorations

Materials

Canvas, Wood

Important Pair of Italian School Paintings "Night and Day" 19th Century
Located in Madrid, ES
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
Category

19th Century Italian Antique Baroque Wall Decorations

Materials

Paint

17th Century, Italian painting Allegory of the Spring Follower of Jacopo Bassano
By Jacopo Bassano
Located in IT
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: ...
Category

Late 17th Century Italian Antique Baroque Wall Decorations

Materials

Canvas

Portrait of a French nobleman, oil on canvas, late 17th/early 18th century
Located in TEYJAT, FR
A Striking Large Portrait of a French Nobelman oil on canvas, late 17th/early 18th century. The subject dressed in a velvet gown and white neck tie and wearing a flamboyant long black wig...
Category

17th Century French Antique Baroque Wall Decorations

Materials

Canvas, Wood

Beautiful Italian School "Virgin and Child" late 19th Century with Video
Located in Madrid, ES
Beautiful Italian School "Virgin and Child" late 19th Century Oil painting on canvas, Dimensions: 50x57 cm including frame, good condition for the age
Category

Late 19th Century Italian Antique Baroque Wall Decorations

Materials

Paint

Madonna e Bambino by Carlo Garofalo (active in Mardrid and Naples 1692-1705)
Located in Austin, TX
This beautifully composed painting of "Madonna and Child" by Carlo Garofalo embodies a timeless reverence and serene beauty. Garofalo, a prominent voice in Italy during the late 17th...
Category

17th Century Italian Antique Baroque Wall Decorations

Materials

Wood, Paint

Portuguese eighteen century Wall Shelf table
Located in Ballard, CA
Unique Baroque wall shelve from Portugal, adorned with beautiful gilt and faux marble, Having arrived in Portugal later than it did in the rest of Europe, baroque art was to take on ...
Category

18th Century Portuguese Antique Baroque Wall Decorations

Materials

Fruitwood

German Engraved and Parcel Gilt Mirrored Panels, circa 1950
Located in Los Angeles, CA
Set of five German Engraved and parcel Gilt Mirror Panels, Each engraved mirrored panel portrays a different character with hand painting and gilt detailing.
Category

1950s German Vintage Baroque Wall Decorations

Materials

Wood, Mirror, Paint

Baroque wall decorations for sale on 1stDibs.

Find a broad range of unique Baroque wall decorations for sale on 1stDibs. Many of these items were first offered in the 21st Century and Contemporary, but contemporary artisans have continued to produce works inspired by this style. If you’re looking to add vintage wall decorations created in this style to your space, the works available on 1stDibs include wall decorations, more furniture and collectibles, decorative objects and other home furnishings, frequently crafted with fabric, wood and other materials. If you’re shopping for used Baroque wall decorations made in a specific country, there are Europe, Italy, and France pieces for sale on 1stDibs. While there are many designers and brands associated with original wall decorations, popular names associated with this style include Europa Antiques, Rembrandt van Rijn, Basilius Besler, and Flemish. It’s true that these talented designers have at times inspired knockoffs, but our experienced specialists have partnered with only top vetted sellers to offer authentic pieces that come with a buyer protection guarantee. Prices for wall decorations differ depending upon multiple factors, including designer, materials, construction methods, condition and provenance. On 1stDibs, the price for these items starts at $30 and tops out at $495,000 while the average work can sell for $4,328.

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