Baroque Wall Decorations

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...

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

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...

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...

This framed engraving, made in the red chalk style, represents the apostle Matthew writing his Gospel under the dictation of the angel. The angel is Matthew's symbol, because his Gospel begins with the human genealogy of Jesus, with the story of Joseph who also receives a visit from an angel announcing to him that Mary's unborn child was fathered by the Holy Spirit. The engraving was made after the Guercin "Guercino inv" and also bears the words "F Bartolozzi...

This is an engraving by Johann Georg Wille after the work of Godfried Schalcken. This is a genre scene. Representing a family is sitting around...

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...

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 Her status as Princess of Brazil, inherent to 18th century Portuguese presumptive heirs, would however be superseded once the queen gave birth to two male princes, D. Pedro (1712-1714) and D. José (1714-1777), preventing her from ascending to the throne.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...

Mid-1700's “Feuilles d'Aristoloche” tapestry. Very orgininal, esoteric feeling Flemish tapestry. Has been freshly cleaned and is in structurally good condition. Interestingly, the...

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

Oil on canvas depicting Saint Anthony in a garden being visited by Angelic Cherubs with a courtyard and fountain and mysterious figure in the background, the ever present Lily flower in the foreground. In a period ebonized wood frame. Anthony of Padua (Italian: Antonio di Padova) or Anthony of Lisbon (Portuguese: António/Antônio de Lisboa; born Fernando Martins de Bulhões; 15 August 1195 – 13 June 1231) was a Portuguese Catholic priest...

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...

Carved from a single wooden solid plank of walnut, this stunning Italian bas relief plaque depicts Mary holding the baby Jesus, flanked by two apostles, one holding a sword; the othe...

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

Mesmerizing French still life oil painting on board. The midcentury painting depicts a pheasant on a tablecloth with green cabbage. Amazing detail and brushwork set in a distressed g...

Broadside Türkischer Jamerspiegel, oder Buss sporren / C. Meyer fecit Meyer, Conrad [1618-1689]; Simler, Johann Wilhelm [1605-1672]; Burgerbibliothek Zürich, 1664. Flush ...

Mid-century oil still life painting of a vase filled with assorted flowers next to a basket full of fruit on a table covered in fruit and grapes in a rectangular carved giltwood fram...

Antique Greek vase print on paper 19th Century France This is a beautiful baroque print of an antique Greek vase. Contemporary wooden black ...

Giovanni Michele Graneri (Italy, Turin 1708-1762) Bambocciata (Farmers dancing in front of the inn) The painting, made in oil on canvas, depicts a moment of celebration where some p...

A large 19th Century engraving by Giovanni Battista Piranesi depicting the decoration on the leg armor worn by a Roman gladiator. The illustration includes masks and emblems of Bacch...

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

Circle of Sir Godfrey Kneller, Mrs Voss, and Catherine Kneller, oil on paper laid to wood panel Overview This exceptional Baroque portrait artwork, the circle of Sir Godfrey Kneller, is an oil on canvas painting from the early 18th century. The painting, laid onto a panel, represents a compelling historical piece linked to Mrs. Voss, who was active circa 1685-1690 and recognized as the mistress of Sir Godfrey Kneller and the mother of Catherine (Agnes) Huckle. Key Details: Sir Godfrey Kneller, Mrs Voss and Catherine Kneller oil canvas Medium: Oil on paper, laid onto panel Period: Early 18th century Condition: Unframed oil panel Dimensions: Height - 28 inches, Width - 34 inches Historical Connection: A larger version of this artwork is held in the Kingston Lacy Estate, Dorset Artist Influence: Connected to the circle of Sir Godfrey Kneller, one of the most influential portrait artists of the Baroque period. This Old Master portrait painting is a fine example of Kneller’s portrait style, making it a sought-after piece for collectors, historians, and art enthusiasts looking to buy antique paintings in Sussex or the UK. About Sir Godfrey Kneller (1646-1723) Sir Godfrey Kneller (born Gottfried Kniller) was a renowned Baroque portrait painter of Anglo-German descent, widely considered one of the greatest portraitists of the late 17th and early 18th centuries. His influence on English portraiture was significant, and his works remain highly collectable today. 1. Early Life and Training Birth: August 8, 1646, Lübeck, Germany Parents: Zacharias Kniller (merchant) and Lucia Kniller Education: Studied painting in Lübeck Trained in Amsterdam under Ferdinand Bol (a student of Rembrandt) Influenced by the Dutch Golden Age art movement During his training, Kneller adopted techniques from Rembrandt and Bol, shaping his mastery of light, shadow, and lifelike portraiture. 2. Italian Influence and Artistic Growth Sir Godfrey Kneller Mrs Voss and Catherine Kneller oil canvas Traveled to Italy in the early 1670s to study Titian, Veronese, and Caravaggio His exposure to Italian Renaissance and Baroque art deepened his understanding of color theory, composition, and grand portraiture After returning to Northern Europe, he briefly worked in Hamburg before moving to England in 1676 3. Kneller’s Rise in England and Royal Patronage His talent quickly gained recognition among the English aristocracy and royalty In 1680, he was appointed Principal Painter to King Charles II Over his career, Kneller painted portraits of five English and British monarchs: King Charles II King James II King William III & Queen Mary II Queen Anne King George I His iconic portrait paintings continue to serve as historical records of British nobility, making his works highly valuable in the art market. 4. Notable Works and Contributions Kit-Cat Club Portraits: A famous series of 48 portraits of prominent literary, political, and cultural figures of the time. Developed the grand yet lifelike Baroque portrait style, balancing realism with nobility. His influence on later English portrait painters, such as Thomas Gainsborough and Joshua Reynolds, was profound. 5. Kneller’s Honors and Legacy Knighted by King William III in 1692 Created a Baronet by King George I in 1715 Naturalized British Citizen in 1711 Passed away on October 19, 1723, and was buried in Twickenham, England. His works remain highly collectible, sought after by art collectors, historians, and museums worldwide. Historical & Artistic Significance of the Painting This early 18th-century oil portrait attributed to Kneller’s circle is an outstanding example of his influence on Baroque portraiture. The depiction of Mrs. Voss and her connection to Catherine (Agnes) Huckle adds historical depth and collector value. 1. Artistic Style and Features Detailed brushwork characteristic of Kneller’s school Rich color palette influenced by Titian and Rembrandt Noble posturing typical of 17th-18th century aristocratic portraiture Use of light and shadow to enhance depth and realism 2. Collector’s Appeal & Investment Potential Highly sought-after Old Master artwork with documented provenance Strong appeal to art collectors, historians, and museums Valuable addition to Baroque art collections Investment-worthy due to high demand for Kneller’s works in auctions and private sales 3. Comparison to the Kingston Lacy Version A much larger version of this painting exists in the Kingston Lacy Estate, Dorset This smaller panel version offers collectors a unique opportunity to own a historically significant work at a more accessible scale and price Final Thoughts The circle of Godfrey Kneller oil on canvas painting featuring Mrs. Voss and Catherine (Agnes) Huckle is an important historical artwork. Whether you are an art collector, investor, or historian, this painting represents a rare opportunity to acquire a piece of Baroque portraiture. Why This Painting is a Must-Have for Collectors: Authentic Old Master Portrait from the School of Kneller Strong Historical and Artistic Value Investment Potential in the Art Market Connected to the Kingston Lacy Collection Ideal for Collectors of English Baroque Portraits...

Cast bronze wall sculpture with seven children chorus. Europe, early 20th century. Signed M. Raúl Couceiro.

A 19th century classical and colorful plaster wall relief sculpture featuring a young Bacchus and two putti companions. Surrounded by grape vines, grapes and leaves. Sitting on cloud...

The beautiful and intriguing 19th century portrait of John the Baptist, oil on wood, in style of Francisco Goya, signed lower left by French painter Saint Cyr Anduze. The painting i...

Fine folio including early and finely executed portraits of Renaissance artists by Joachim von Sandrart. Included are portraits of: Mino da Fiesole; Giuliano da Sangallo; Domenico Puligo; Andrea da Fiesole, and Properzia de' Rossi. The latter is of particular historical significance in that Properzia de' Rossi (c. 1490 Bologna – 1530 Bologna) was a ground-breaking female Italian Renaissance sculptor, the only woman to receive a biography in Vasari's Lives of the Artists. According to Vasari, she taught herself to carve by working with peach-stones. At the end of her life, she was sought out by the Pope Clement VII, who unfortunately found her dead. Sometimes referred to as the “German Vasari,” Joachim von Sandrart, born in Frankfurt, trained first as a printmaker, notably in Nuremberg, and in Prague with Aegidius Sadeler. He then studied painting from 1625 on, originally in the studio of Gerrit van Honthorst...

Magnificent Portland stone Keystones, reclaimed from Lower Regents Street, London. The impressive reclaimed facades have a deeply carved cartouche with ornamental scrolls and foliag...

A beautiful pair of burin engravings depicting "Saint Bernardo degli Uberti" and "Saint Hilary of Poitiers" two of the patron saints of the city included in the base of the cupola ( dome ) of Parma cathedral frescoed by Antonio Allegri known as Correggio (Correggio, August 1489-Correggio 5 March 1534) between 1524 and 1530. Admirable work by the great master in which his genius as a forerunner of the Baroque is fully seen. In 1642 Giovanni Battista Vanni etched a series of fifteen plates from Correggio's frescoes. Giovanni Battista Vanni was born in Pisa around 1599; he studied successively under Jacopo da Empoli, Aurelio Lomi, and Matteo Rosselli, and then became a disciple of Cristofano Allori. He is better known as an engraver than as a painter. From 1624 to 1632, he lived in Rome, then returning to Florence after visiting Venice. In addition to the series of prints...

17th century Roman school, Santa Cecilia with angels in concert, oil painting on canvas The valuable painting, in excellent condition, depicts Sa...

France Paris black and white print on paper Mid-19th century This beautiful antique print titled "Paris dans sa splendeur" (Paris shows i...

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

Painting from Playful Putti in a Natural Frame A unique painting from 1910 by A. Gevels. Begium This enchanting painting from 1910 by the Belgian artist A. Gevels shows four playfu...

An exceptional and rare pair of carved and gilt hard wood angels. Each is about 2 feet high with incredible detail and presence. Original gilding with excellent original patina. Ital...

A Fine Pair of Framed Porcelain Plaques Of Tavern Scenes By Jean-Pierre Feuillet The hand-painted, glazed & fired rectangular plaques of tavern scene, one depicting a friendly card ...

F. CEPPARULI (*1750) after VANNI (*1750), Temple on an Island in the Water, circa 1780 Copper engraving Francesco Cepparuli (before 1750 - after 1767 ) after Niccolo Vanni (before 1...

17th Century, Italian painting with still life with fruit, dogs and cat Measurements: With frame cm W 93 x H 75.5 x D 4; Frame cm W 82.5 x H 66.5 The...

France baroque black and white print Grand Carrousel mid-19th century. This beautiful antique print titled "Grand Carrousel sous Louis XIV" show the horses parade under the Louis XI...

In the style of George Cope, this Classic Trompe l'oeil oil on wood panel depicts a hunt scene of three doves and features much detail and subtle rich color. It is newly framed in a ...

Two oils on canvas, 18th century school, representing 2 of the miracles of Saint Vincent Ferrier: the healing of an injured person and the child stricke...

A huge late 19th century oil on linen landscape painting of a French pastoral scene featuring hills, valleys, rivers, a castle, city, lake and peasants and nobility as well as animal...

A very fine tapestry panel, originally part of the top section of a border, depicting at its center the head of Mercury, the Roman God of Commerce. The winged head is flanked by a pa...

Couple of architectural capriccio with mythological scenes, oil on canvas, painter from Bologna active in the 18th century The two large and valuable pantings depict two architectur...

Tobias and the Angel , oil on canvas , Flanders, 17th Century. Circle of Theodoor van Loon. Theodoor van Loon (1581 or 1582, in Erkelenz – 1649, in Maastricht) was a Flemish Baroque...

Oil on canvas ''the Descent from the Cross'' or "La Descente de la Croix" in the style of Peter Paul Rubens the Descent from the Cross has been called a Baroque masterpiece — perhaps due to its monumentality — but it is also considered to be the first work of Rubens' “Classicist” period, which characterized his style from about 1612 to 1620. Highly sought after original copy of the masterpiece that Rubens painted, it shows it's age well, some repairs but when it hangs on the wall it is an impressive antique canvas...

This richly detailed still life painting by Ida Calzolari draws inspiration from 17th-century Dutch and Flemish masters. A lush bouquet of flowers overfl...

Smaller size with embossed decoration.

17th century, pair of ink drawings on paper with studies for grotesques, friezes and helmets. Painter of central Italy of the 17th century, signed with monogram “A.M.”. Measurements: cm L 45.5 x H 59.5 x 5.5; cm 22 x 33 / cm L 46.5 x H 59 x 5.5; cm 22.5 x 31.5 The pair of sheets, in good condition, is framed by antique frames in carved and gilded wood. They show some china studies with some studies for different subjects. Specifically, the first sheet represents the design of a frieze of Renaissance taste under which are some studies probably referring to a family coat of arms. Below the center is a monogram “A.M.”. The sheet is also worked on the back in which are drawn some articulated elements of decoration in the style of the Renaissance grotesque...

Important oil on canvas, anonymous work attributed to the 17th-century French school, depicting a refined allegory of Dawn, a mythological figure associated with dawn and the renewal...

With shield in center surrounded by gadrooned and hammered decoration.

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...

Painting by Pietro Domenico Ollivero. "Manio Annio Curio Dentato receives the ambassadors of the Samnites", around 1740 The work in question depicts the scene of and was made by the famous italian painter Pietro Domenico Ollivero. The oval canvas shows on the back the card of the Galleria Caretto in Turin (Italy) with the authentic 1965 Giorgio Caretto. The work was also published in "I Piaceri e le grazie" by Arabella Cifani and Franco Monetti in 1993. The subject refers to the history of Rome and an episode narrated by the historian Valerio Massimo. Manius Curius Dentatus (330 BC - 270 BC), one of the great Romans of the 3rd century B.C. was a consul in ancient Rome, known for ending the Samnite Wars. Elected consul in 290 BC. along with Publio Cornelio Rufino, in the same year he fought and won the Third War against the Samnites and their allies, thus ending a conflict that had lasted for 49 years. He definitively subdued the Sabines and the Greek army of Pyrrhus in the battle of Benevento. He represented the ideal prototype of ancient Roman for the generations that followed in that he avoided public honours; Cato the censor, who collected his sayings, placed him among the great figures of universal history. For centuries after his death (in 270 B.C. while overseeing the construction of the second aqueduct in Rome) his military exploits were recounted and his moral rectitude was praised as an example for all the Romans. Ollivero, in the cultured choice of the episode, illustrates the moment when Manio Curio Dentato is found in his home, characterized by Roman walls, sitting by the fire, on a rustic bench while eating his meal in a "ligneo catillo" (wooden basin...

This stunning set of antique 19th Century Louis XVI Wall sconces/mounted on mahogany wood (most likely during Art Noveau era ). The wood can be easily removed if necessary. The quali...

Early 17th century, French hand colored equestrian engraving. After Antoine de Pluvinel (French, 1552-1620), "Henry IV, Mounted", figure 42 from "L'Instruction du Roy en l'Exercice de Monter a Cheval", c. 1625, matted and framed under UF-3 plexiglass (blocks approx. 97% of UV) , gallery label verso. Figures from this publication have sold at Christie's. Those were not hand colored. A highly detailed engraving with the French King Henry 1V the central figure. Mounted on horseback, Le Roy (the King) is watched by no less than 10 courtiers some of whom are mounted on horseback, all of which are named in the engraving. Antoine de Pluvinel (1552, Crest, Dauphine - 24 August 1620) was the first of the French riding masters, and has had great influence on modern dressage. He wrote L’Instruction du Roy en L'exercice de Monter à Cheval ("instruction of the King in the art of riding"), was tutor to King Louis XIII, and is credited with the invention of using two pillars, as well as using shoulder-in to increase suppleness. In 1594, Pluvinel founded the "Academie d'Equitation" near what is now Place des Pyramides. There, the French nobility was trained not only in horsemanship, but also in all the accomplishments (dancing, fashionable dressing, etc.) It can be said that Pluvinel's influence on the aristocracy lasted from the late 16th century to the 17th century. Richelieu, the future Prime Minister of King Louis XIII attended the Academie; so did William, Duke of Cavendish. Pluvinel's book was published posthumously by the Flemish engraver Crispijn van de Passe II and the royal valet de chambre...

Hand framed and encased Florentine Fine Art depicting 3 Dogs, Angel and a Nude Woman. Backing supports a secure way of hanging it. Art Size measures: 5 x 12 inches. O-609-335

Late 17th century oil on joined wood panel interpretation of The Vision of Saint Hubertus by Albrecht Durer. It was painted in 1501 and became a very po...

Still Life of an Kitchen Interieur , German , 18th century, Oil on canvas.      

Important Plate Fratelli Minardi Faenza 1920 Lady's profile, a polychrome ceramic plate with a wide rim and a deep recess, with a ring-shaped support on the back, on a recessed back...