Baroque Wall Decorations

A magnificent antique French tapestry depicting a scenic river including a fountain and a large tree full of flowers, dating to circa 1920 and showcasing elegant craftsmanship and ar...

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.

PIETER CLAESZ (Burgsteinfurt, h. 1597-Haarlem, 1660) “Bodegón” Óleo sobre lienzo. Reentelado Medidas: 106 x 136 cm. (lienzo); 121 x 150 cm. (marco) Adjunta estudio realizado por Dr M...

This 17th-century Flemish Verdure tapestry fragment features an abstracted woodland landscape with softly rendered animal forms and rich earth-toned shading. Its aged surface, classi...

A magnificent antique French tapestry depicting a scene of people among a fountain, showcasing elegant composition and rich coloration. Beautiful colorway, and an easy, chic addition...

A late 19th early 20th century Berlin K.P.M. Porcelain Plaque titled "Der Eremit" (The Hermit) After the painting by Salomon Koninck (Dutch, 1609-1659)...

Large Scale Framed Italian Silk Embroidery Textile Panel, dating from the 18th century. The textile displays a finely balanced symmetrical design of scrolling acanthus vines and abundant blossoming flowers in soft tones of rose, blue, green, and gold on a neutral background. Each stitch reveals the exceptional craftsmanship typrical of Italian embroidery of the period, likely originating from a noble household or religious setting. The embroidery is bordered with its original fringe edge and preserved under a custom gilt frame, lending the piece both protection and an elegant presentation. This panel will be perfect as a statement piece in a hallway, dining room, or above a console. This framed antique...

Mythological Seas: Pair of 18th-Century Portuguese Azulejo Mermen 18th Century This spectacular pair of 18th-century Portuguese tile pictures depicts two imposing mermen. Executed i...

A magnificent antique French tapestry depicting a scenic river with a central fountain and a large flowering tree, beautifully composed with rich verdure elements, dating to circa 19...

Fine 17th century Baroque period silk and metallic thread embroidery panel. Excellent vibrant colors of bold burgundy, pale cream and beautiful, elegant teal with a border of textur...

19th C. carved painted & parcel gilt architectural element. The piece is painted in antique white with 22K gold leaf details throughout. There is also a metal stem of flowers in ...

This elegant pair of wall console shelves showcases fine early 20th-century craftsmanship, dating from the 1900s–1910s. Handcrafted from quality wood, each console is expertly covere...

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...

An intimate and beautifully composed devotional scene painted in the circle of the great Flemish Baroque master Peter Paul Rubens, depicting The Holy Family with Saint Anne. The comp...

Wonderful image after Rembrandt Fine Steel engraving. Published by Blackie & Sons London. C.1850 Unframed.

A magnificent pair of 18th century Portuguese carved pine wall consoles, also called brackets, originally part of the architectural program of a cathedral altar. They have been updat...

Very early Italian School Madonna and Child, Italian Baroque oil on board painting. Professionally restored. The careful removal of accumulated dirt and age-related damage, followed ...

This 18th century Italian painting captures one of the most iconic biblical moments: the Adoration of the Magi. The mysterious travelers kneel in reverence before the Infant Jesus, ...

Shield form with a crown over a coat of arms with different symbols, the frame carved and gilded in the baroque style. From the Michael Kittredge collection.

These beautiful Baroque plaster cherub angel heads are an antique from Italy. Made of plaster and hand painted, these cherub angel heads feature intrica...

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...

A Monumental Italian Devotional Painted Tapestry, 18th Century An imposing and rare 18th-century Italian painted tapestry, standing at an impressive 217 cm in height. This large-scal...

Antique French Aubusson Tapestry Birds Wool & Silk Large 5x9 1900 "This is an outstanding antique French Aubusson tapestry in a fantastic large square size- This wool & silk treasure incorporates impeccable attention to detail- Depicting a scene of Hermes and Mercury...

SPANISH SCHOOL FROM THE LATE 17TH CENTURY. "Saint Michael the Archangel" Oil on canvas. 104x82 cm. Relined. Frame in molded and gilded wood. good condition

Johann Baptist Homann (1663–1724) “Prospect der Königl: Schwed: Haupt und Residenz-Stadt Stokholm” Hand-colored engraving, circa 1730 A finely detailed early 18th-century engraved v...

"This antique French needlepoint tapestry features a central medallion surrounded by intricate floral motifs and scrolling details on a soft cream background with a rich red border. ...

Venetian style dolphin and clam wall decor set from the 1960's in silver leafed resin with hand painted gold highlights. Together, they make a striking baroque focal point in any roo...

A Fine Italian 19th Century Oil Painting on Canvas "La Madonna della Seggiola" after Raphael (Raffaello Sanzio da Urbino 1483-1520). The circular painted canvas depicting a seated Madonna holding an infant Jesus Christ next to a child Saint John the Baptist, all within a massive carved two-tone gilt wood, gilt-patinated and gesso frame, 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 Painting diameter: 28 inches (71.1 cm) Frame height: 55 1/8 inches (140 cm) Frame width: 46 inches (116.8 cm) Frame depth: 5 1/8 inches (13 cm) Raffaello Sanzio da Urbino (Italian, March 28 or April 6, 1483 - April 6, 1520), known as Raphael, was an Italian painter and architect of the High Renaissance. His work is admired for its clarity of form, ease of composition, and visual achievement of the Neoplatonic ideal of human grandeur. Together with Michelangelo and Leonardo da Vinci, he forms the traditional trinity of great masters of that period. Raphael was enormously productive, running an unusually large workshop and, despite his death at 37, leaving a large body of work. Many of his works are found in the Vatican Palace, where the frescoed Raphael Rooms were the central, and the largest, work of his career. The best known work is The School of Athens in the Vatican Stanza della Segnatura. After his early years in Rome much of his work was executed by his workshop from his drawings, with considerable loss of quality. He was extremely influential in his lifetime, though outside Rome his work was mostly known from his collaborative printmaking. After his death, the influence of his great rival Michelangelo was more widespread until the 18th and 19th centuries, when Raphael's more serene and harmonious qualities were again regarded as the highest models. His career falls naturally into three phases and three styles, first described by Giorgio Vasari: his early years in Umbria, then a period of about four years (1504–1508) absorbing the artistic traditions of Florence, followed by his last hectic and triumphant twelve years in Rome, working for two Popes and their close associates. Raphael was born in the small but artistically significant central Italian city of Urbino in the Marche region, where his father Giovanni Santi was court painter to the Duke. The reputation of the court had been established by Federico III da Montefeltro, a highly successful condottiere who had been created Duke of Urbino by the Pope - Urbino formed part of the Papal States - and who died the year before Raphael was born. The emphasis of Federico's court was rather more literary than artistic, but Giovanni Santi was a poet of sorts as well as a painter, and had written a rhymed chronicle of the life of Federico, and both wrote the texts and produced the decor for masque-like court entertainments. His poem to Federico shows him as keen to show awareness of the most advanced North Italian painters, and Early Netherlandish artists as well. In the very small court of Urbino he was probably more integrated into the central circle of the ruling family than most court painters. Federico was succeeded by his son Guidobaldo da Montefeltro, who married Elisabetta Gonzaga, daughter of the ruler of Mantua, the most brilliant of the smaller Italian courts for both music and the visual arts. Under them, the court continued as a centre for literary culture. Growing up in the circle of this small court gave Raphael the excellent manners and social skills stressed by Vasari. Court life in Urbino at just after this period was to become set as the model of the virtues of the Italian humanist court through Baldassare Castiglione's depiction of it in his classic work The Book of the Courtier, published in 1528. Castiglione moved to Urbino in 1504, when Raphael was no longer based there but frequently visited, and they became good friends. He became close to other regular visitors to the court: Pietro Bibbiena and Pietro Bembo, both later cardinals, were already becoming well known as writers, and would be in Rome during Raphael's period there. Raphael mixed easily in the highest circles throughout his life, one of the factors that tended to give a misleading impression of effortlessness to his career. He did not receive a full humanistic education however; it is unclear how easily he read Latin. Early Life and Works His mother Màgia died in 1491 when Raphael was eight, followed on August 1, 1494 by his father, who had already remarried. Raphael was thus orphaned at eleven; his formal guardian became his only paternal uncle Bartolomeo, a priest, who subsequently engaged in litigation with his stepmother. He probably continued to live with his stepmother when not staying as an apprentice with a master. He had already shown talent, according to Vasari, who says that Raphael had been "a great help to his father". A self-portrait drawing from his teenage years shows his precocity. His father's workshop continued and, probably together with his stepmother, Raphael evidently played a part in managing it from a very early age. In Urbino, he came into contact with the works of Paolo Uccello, previously the court painter (d. 1475), and Luca Signorelli, who until 1498 was based in nearby Città di Castello. According to Vasari, his father placed him in the workshop of the Umbrian master Pietro Perugino as an apprentice "despite the tears of his mother". The evidence of an apprenticeship comes only from Vasari and another source, and has been disputed—eight was very early for an apprenticeship to begin. An alternative theory is that he received at least some training from Timoteo Viti, who acted as court painter in Urbino from 1495.Most modern historians agree that Raphael at least worked as an assistant to Perugino from around 1500; the influence of Perugino on Raphael's early work is very clear: "probably no other pupil of genius has ever absorbed so much of his master's teaching as Raphael did", according to Wölfflin. Vasari wrote that it was impossible to distinguish between their hands at this period, but many modern art historians claim to do better and detect his hand in specific areas of works by Perugino or his workshop. Apart from stylistic closeness, their techniques are very similar as well, for example having paint applied thickly, using an oil varnish medium, in shadows and darker garments, but very thinly on flesh areas. An excess of resin in the varnish often causes cracking of areas of paint in the works of both masters. The Perugino workshop was active in both Perugia and Florence, perhaps maintaining two permanent branches. Raphael is described as a "master", that is to say fully trained, in December 1500. His first documented work was the Baronci altarpiece for the church of Saint Nicholas of Tolentino in Città di Castello, a town halfway between Perugia and Urbino. Evangelista da Pian di Meleto, who had worked for his father, was also named in the commission. It was commissioned in 1500 and finished in 1501; now only some cut sections and a preparatory drawing remain. In the following years he painted works for other churches there, including the Mond Crucifixion (about 1503) and the Brera Wedding of the Virgin (1504), and for Perugia, such as the Oddi Altarpiece. He very probably also visited Florence in this period. These are large works, some in fresco, where Raphael confidently marshals his compositions in the somewhat static style of Perugino. He also painted many small and exquisite cabinet paintings in these years, probably mostly for the connoisseurs in the Urbino court, like the Three Graces and St. Michael, and he began to paint Madonnas and portraits. In 1502 he went to Siena at the invitation of another pupil of Perugino, Pinturicchio, "being a friend of Raphael and knowing him to be a draughtsman of the highest quality" to help with the cartoons, and very likely the designs, for a fresco series in the Piccolomini Library in Siena Cathedral. He was evidently already much in demand even at this early stage in his career. Influence of Florence Raphael led a "nomadic" life, working in various centres in Northern Italy, but spent a good deal of time in Florence, perhaps from about 1504. Although there is traditional reference to a "Florentine period...

19th century Italian painting of Mary and Jesus on canvas with barite, selenite blades, scolecite, green aventurine, and aragonite and framed with 18th century Italian hand-carved fl...

A pair of fine engravings of two Swedish monarchs by Samuel Blessendorf for Puffendorf’s History of Sweden, in antique birch frames, 1663 and 1696. Engravings of Swedish King Karl X Gustav (b. 1622 - d. 1660) dated 1663 and his successor, King Karl XI (b. 1655 - d. 1697) from 1696 by Samuel Blessendorf, a Prussian enamel painter and engraver, born in Berlin in 1670. He designed and engraved these portraits for Puffendorf’s History of Sweden by Freiherr Samuel von Pufendorf (1632-1694), Historiographer to King Karl X of Sweden. Freiherr Samuel von Pufendorf (b 1632 – d 1694) was a German jurist, political philosopher, economist and historian. He was born Samuel Pufendorf and ennobled in 1684 when he was made a baron by Charles XI of Sweden a few months before his death at age 62. Among his achievements are his commentaries and revisions of the natural law theories of Thomas Hobbes...

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 ...

the stylized carved wooden rosette centering a circular reserve surrounded by a wreath of scrolled acanthus leaves all in a warmly patinated painted and gilded surface

Italian 18th century (circa 1750) carved wood architectural pediment to complete a doorway or headboard, all hand-painted in a striking combination red and blue with parcel gilt acce...

An exceptional 19th-century embossed and polychrome-painted leather panel—often referred to as “cuir de Cordoue” or repoussé leather—featuring a richly layered Baroque-inspired desig...

This vintage ANRI Carl Spitzweg wood carving is a beautiful piece of art that captures the essence of a wedding proposal. Crafted circa 1960s, this relief carved wood figurine is a t...

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...

18th Century Dutch harbour scene / seascape painting with ships in stormy waters by Jan Verbruggen (1712-1780). Signed 'J.Verbruggen'. Jan Verbruggen and his son Peter were artists,...

17th Century Italian School Oil on Canvas - Soldiers and Travellers Resting by a Rocky Cove The painting carries a plaque with the name of the attributed artist Salvator Rosa (1615-...

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 ...

Alberto Carlieri (Rome 1672-1720) "Architectural capriccio with the preaching of Saint Paul in the Areopagus of Athens" Oil on canvas, measures with...

A spectacular flemish 17 century combined verdure and mythological handwoven wool tapestry in a simple palette of beige, green, brown and blue, framed with a complete floral border a...

A magnificent antique French wool and silk tapestry depicting a charming village scene set within lush verdure, beautifully framed and rich in artistic detail. This circa 1920 piece ...

Exceptional 18th century carved wood wall bracket, featuring a finely sculpted putti surrounded by dramatic scrolling acanthus elements. Retaining traces of its original white gesso ...

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

Italian school; second third of the 17th century. "The Healing of Tobias". Oil on canvas. Relined. very good condition Dimensions: 117.5 x 107 cm; 130 x 118 cm (frame). This canvas ...

Circle of VAN DE KASTEELE, Frans (Brussels, c. 1541 – Italy, 1621). "Virgin with angels and saints". Oil on copper. Curly frame in ebony. Devotiona...

Guillam Forchondt the Elder (Antwerp, 1608–1678) & Ferdinand van Kessel The Rape of Europa Oil on copper Accompanied by a study carried out by the Soraya Cartategui Gallery. Present...

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 ...

Engraving of Jesús Nazareno by Juan Antonio Salvador Carmona, dedicated to the Duke of Medina Celi, circa 1780–1795 A powerful and finely executed late 18th-century devotional engra...

This is a gorgeous antique Late 17th Century Franco-Flemish Biblical Tapestry depicting the Reconciliation of Jacob and Esau. The tapestry illustrates the Old Testament story of Jaco...

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

Charles d'Agar (Paris 1669-1723 London) A very important pair of oil on canvas portraits from the early 18th Century. Portrait of Cyrill Wyche, half-length, in a red coat and blue ...

Italian School 17th century "Christ in the Temple" Oil/canvas/double, 106 x 118 cm. good condition

Francesco Cozza, 1605 – 1682 Rome, attributed THE SIBYL OF TIBURTO Oil on canvas. Reinforced. 76 x 65 cm. In frame with floral ornamentation. The Tiburtine Sibyl, leaning on her ri...

A anonymous 17th-century Continental School oil on canvas depicting Saint Jerome in penitence. The saint is portrayed kneeling in prayer before a crucifix, dressed in the traditional...

An antique pair of Portuguese Baroque hand carved architectural wall reliefs, enhanced by richly ornate detailed scrolls, in good condition. Original painted patina with partial gilt...

FRENCH SCHOOL "Portrait of a Girl with Flowers". Oil on canvas from the 18th century. Relined. Dimensions: 80 x 64 cm Good condition

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

This rare 17th century panel, carved in high relief, is museum quality and without doubt the work of an important Flemish master carver. It represents the biblical scene of Mary and Joseph in Bethlehem for the census. Multiple figures surround the center in a well balanced setting. Rich, deep color and great patina, which developed over about 400 years, make this piece of art exceptional. The panel is mounted on a later dusty rose velvet backing. Condition: Small part of backdrop on right is missing. Joseph’s left hand is missing. Measurements: Image size - 8 ½” W x 12 ¼” H x 2” D Back panel - 10 ¼” W x 14” H x ½” D Entire piece - 10 ¼” W x 14” H x 2 ½” D Weight: 2 lbs. 8 oz.  

This is a Antique French Tapestry depicting a celebration amongst verdure with beautifully balanced composition and rich coloration, dating to circa 1920. The colors in this piece ar...