Baroque Wall Decorations

Anonymous Belgium; ca. 1650-1700 Wood (walnut?) Approximate size: 22.75 (h) x 18.5 (w) x 10 (d) in. The scale of this sculpture indicates its original setting was either in the cen...

European School oil on panel of the 18th century Measures: 34X24CM Good condition.

Wonderful image after Rembrandt Fine Steel engraving. Published by Jones & Co., London. C.1850 Unframed.

Baroque woven tapestry of a verdant scene and a couple observing a sleeping Putto. Mounted on a stretcher frame, with linen backing.

The 17th Century Flemish Aubusson Tapestry portraying a woman traveling or walking with her child is a captivating depiction of everyday life...

Wonderful highly polished pewter chargers. Measure: (20.5 inches). English, mid 18th century. Most likely, London Some showing traces of the touchmarks similar to hallmarks on silv...

Elegant late 18th-century European portrait depicting an aristocratic lady portrayed half-length in richly detailed court attire. Her imposing powdered coiffure, delicate lace collar...

A pair of beautiful Baroque style polychrome carved wood wall decors depicting deer and ibex figures. Painted in brown, green, red, and golden c...

A fragment of a 17th-century Aubusson tapestry depicts a man on his knee looking upward, visited by a radiant angel. Rich colors and intricate details capture the moment of divine en...

Immense 17th Century Flemish wool verdure tapestry Flemish, 17th Century Height 323cm, width 424cm This very large and exquisite tapestry was crafted in wool in Flanders during the ...

This large cartouche panel was carved from wood and hand-painted with a central coat of arms in Italy during the 1700’s. Inspired by a 16th century Fr...

Amazing Tiziano Vecellio's Circle of the 17th century "Ecce Homo" Oil on canvas, 17th century, based on the original housed in the Kunsthistorisches Museum, Vienna. Dimensions: 1...

A 19th century copy of a painting by Claude Lorrain titled, " Harbor with the Villa Medici". Early morning light filters over a wholly imaginary scene, an exquisite example of the ...

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

Pietro Bianchi (Rome 1694 - 1740) attributed Saint John the Baptist in the Desert Oil on canvas 98 x 75 cm The information on Bianchi's life comes to us thanks to two eighteenth-cen...

This 17th Century Italian Baroque painting, executed in oil on copper, depicts the Crucifixion of Christ with remarkable depth and dramatic composition. Christ is shown on the cros...

A monumentally scaled and most decorative Italian late 17th century Baroque Period Venetian st. patinated Wood and Giltwood wall decor. This most impressive wall decor/plaque is unde...

This is a vivid and finely executed reverse glass painting depicting the biblical scene of Joseph being sold by his brothers to passing merchants (Genesis 37). This subject was frequ...

**Set of 3, 19th Century Allegorical Reverse Glass Paintings** This captivating set of **three 19th-century allegorical reverse glass paintings** presents richly detailed narratives imbued with symbolism and classical themes. Each painting is executed in the traditional reverse glass technique, providing a smooth and reflective surface that enhances the vibrant palette and fine detailing. 1. **Painting 1 (Left Panel):** This scene portrays a dramatic encounter, likely a moment of judgment or persuasion, set against a distant landscape. A figure in a flowing blue robe gestures emphatically toward a well-dressed couple, perhaps symbolizing conflict, intervention, or moral decision-making. The background includes a sweeping view of the countryside, with figures in the distance adding depth and context. 2. **Painting 2 (Center Panel):** The central panel features a pastoral scene steeped in allegorical significance. A central figure dressed in red, resembling a shepherd, commands attention under a radiant sunburst. Surrounding characters appear in moments of tension and repose, including a reclining figure and a soldier-like character. This composition evokes themes of guidance, struggle, and divine providence, with the bright sky and natural elements reinforcing the allegorical tone. 3. **Painting 3 (Right Panel):** The final panel depicts an intimate interior scene, with two seated women engaged in conversation, one gesturing emphatically as a standing male figure observes. The setting includes detailed furnishings, such as a writing desk, a red draped curtain, and objects hinting at scholarly or domestic pursuits. This tableau may represent themes of wisdom, counsel, or moral reflection, supported by the characters' thoughtful expressions and elaborate dress. Each painting is framed in its **original dark wooden frame**, complementing the vibrant colors and enhancing their display value. The set embodies the **19th-century European fascination with allegory and storytelling**, making it a significant piece for collectors of reverse glass art...

Pier Francesco Cittadini (Milan, 1616-Bologna, 1681) "Jacob and his family go to Egypt" Oil on canvas, cm 109 x 190 (canvas only) The valuable painting, made in oil on canvas, depicts Jacob and his family go to Egypt and we believe it can be, given the high quality painting, autograph work of Italian Pier Francesco Cittadini (Italy Milan, 1616 - Bologna, 1681) made after 1647. The work, in excellent condition is accompanied by a coeval frame in wood finely carved and golden. The scene depicted, which was confused with the Flight to Egypt in the past years, is instead identified with the biblical episode of Jacob’s journey. In the foreground, reading the painting from left to right, we see a caravan composed of animals, including donkeys, dromedaries, goats, dogs and horses and people, women, men and slaves, who carry on their journey along the banks of a river, following a path that to the right, would seem to lead to the through of a bridge. In addition to the watercourse is described an environment characterized by large rocks and impervious come far to cover the entire verticality of the canvas. On the left, in the distance, we see the tail of the caravan that runs along the steep path. Large trees enliven and harmonize the environment, as well as white and grey clouds characterize the predominantly clear sky and illuminated on the right by sunlight. The story is told in the Bible, Book of Genesis, 30, 25, passage in which is described the flight of Jacob from Haran after the contrasts with Laban, father of his wife Rachel. Jacob is the third great patriarch of the Bible. From his descendants originate the twelve generations of the people of Israel. He is the son of Isaac and Rebekah, who led him to flee from the wrath of Esau to Haran to seek refuge from his brother, Laban. At his uncle’s house Jacob met his daughter Rachel. As soon as he saw his cousin, Jacob was taken. Jacob will stay seven years in the service of Laban to marry his beloved Rachel. But Laban, with a deception, will give him in marriage first Lia, the least beautiful eldest daughter, and only after another seven years the splendid Rachel. From his first wife he will have several children, while Rachel will give birth to the beloved son, Joseph, who will become viceroy of Egypt. After years of service, Jacob asked to be paid with every dark-coloured garment among the sheep and every spotted and dotted garment among the goats. Laban accepted and sent away from his sons all the leaders of that kind. So Jacob took fresh branches of poplar, almond and plane tree, and flayed them, and put them in the troughs. The optical suggestion induced the goats and the sheep to conceive and give birth to dark, striped and dotted garments. He also ensured that all the strongest and healthiest leaders of the flock of Laban would drink near the barked branches, thus assuring a genetic superiority to his part of the flock. His flocks grew numerous and strong and he became richer than his relative, arousing envy. It was clear that Laban would not respect him much longer. At the suggestion of the Lord, Jacob decided to return to Canaan. Trying to avoid any possible dispute, he left with his family while Laban was absent for shearing sheep. But when, three days later, his uncle returned home, he became angry, feeling offended because Jacob had gone secretly and had not allowed him to greet his daughters and grandchildren. In addition, his teraphim, statuettes, or idols, which depicted the family deities, had disappeared. After 7 days of pursuit, Laban and his men reached Jacob’s group on Mount Gilead, in the mountainous region west of the Euphrates River, where his uncle and grandson had a stormy conversation. The younger man was outraged at being accused of stealing idols and told Labano to rummage through his family’s tents at will. Neither of them could know or even imagine that it was Rachel who took the idols and hid them in the saddle of the camel. During the search, she sat down firmly on the saddle, apologizing for not being able to get up, «because I usually have what happens to women» (Gen 31:35). So the loot wasn’t discovered. The author of this work was inspired by the composition of an engraving by Stefano Della Bella (1610-1664) of circa 1647. The engraving by Stefano della Bella bears the title "Iacob sur ses vieux jours quitte sans fascherie pour voir son filz Ioseph, sa terre et sa patrie" and is signed on the bottom left "Stef. of the Beautiful In. et fe." while on the right it is declared "Cum privil. Regis", that is with license of the king. Stefano Della Bella (Italy - Florence, May 18, 1610-Florence, July 12, 1664) was born in a family of painters, sculptors and goldsmiths and was left early orphan of his father sculptor, he dedicated himself first to the art of goldsmith at the school of Giovanni Benedetto Castiglione and Gasparo Mola, then turning his attention to drawing and engraving. He soon began drawing figures and copying the etchings of Jacques Callot, which inspired his early works. Under the protection of the Medici, in particular of Don Lorenzo, cadet son of Grand Duke Ferdinand I, Della Bella has the opportunity to make study trips to Rome, where he stayed from 1633-1636; In Rome he met French engravers and publishers of prints such as Israël Henriet and François Langlois, who influenced his decision to move to Paris in 1639, four years after the death of Callot. In Paris he soon reached, thanks to the engravings commissioned by Cardinal Richelieu, the success also worldly; he frequented courtiers, theatre artists and writers, while refusing too oppressive honors. In 1646-1647 he continued his travels in the Netherlands to Amsterdam, Antwerp and Dordrecht. He returned to Florence in 1650 and resumed working under the protection of the Medici court, working for his patrons. In 1656 he became a member of the Academy of Apatists. The painting object of this study is reasonably attributable to Pier Francesco Cittadini, or Pierfrancesco Cittadini, called the Milanese or the Franceschino (Italy - Milan, 1616-Bologna, 1681) as some exemplary stylistic comparisons proposed to follow can prove. Pier Francesco Cittadini was an Italian baroque painter, mainly active in Bologna. His artistic training first took place with the painter Daniele Crespi...

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

A fabulous 19th-century handwoven tapestry in excellent condition. The scene of celebration among nature. A similar technique is used for making the tapestry, as in Aubusson and Needlepoint in the flat weave role. These decorative area rugs are sporadic luxury rugs for sale in any rug store. They can exist as designer rugs or interior design elements in antique rug galleries or be recommended as a design object by interior designers for home decor. Rare Tapestry Rug Wall Hanging Carpet...

Jan Abel WASSENBERGH (1689-1750) "The Continence of Scipio" Oil on canvas, signed below center 92 x 107 cm unframed 99cm x 114cm framed (small old restorations) Jan Abel Wassenbergh (18 January 1689, Groningen – ca. 20 July 1750, Groningen), was an 18th-century painter from the Dutch Republic. According to Jan van Gool...

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

Two 19th-century Italian Gilded Antique Shelves centered by 1700s Majolica, small shaped shelves in carved and gilded wood, made from a polychrome majolica lid divided into two parts...

Rare Baroque portrait of a Spanish monk, School of Jusepe de Ribera, C.1690. The painting is presented in a later frame. The work carries an old ink inscription “Ribera” on the bac...

Portrait of Maria Theresa of Austria, Queen Consort of France, 17th Century Oil on canvas, European School, ca. 1660–1680, late 17th century Oil on canvas depicting Maria Theresa of...

Bernhard Keil was among the most distinctive genre painters active in Italy during the second half of the seventeenth century. Born in Helsingør, Denmark, he apprenticed under the Co...

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...

Aristocratic style is presented by this tapestry; a heraldic coat of arms formed by woolen cloth of different colors applied in collage on blue woolen cloth. Lucchese (Lucca) manufac...

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

An extraordinary and richly ornamented Italian silk embroidery panel, dating to the late 17th or early 18th century, exquisitely framed and preserved as a work of art. The compositi...

Ornately-Carved Walnut Carving of an Angel. France, circa 1700s. Possibly from a ship or country estate.

This six panel Italian screen is from the Baroque period, circa 1700. The four central panels have been affixed to a foldable frame, while the two outer panels are detached. When all...

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

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

A truly exceptional 17th century Cuzco School (Spanish School, Peru) Oil on Canvas of Archangel Selaphiel. This painting is from the private collection of a gentleman from Ham...

Beautiful vintage head, bust of an angel or cherub in relief, made of gilded plaster, circa mid-20th century. Charming and elegant wall decoration, the cherub looks very sweet, shap...

18th Century Engraving Sneed Park, the Seat of Joseph Jackson Esquire. Hand colored engraving, “Sneed Park, the seat of Joseph Jackson Esquire. Illustration from the second volume o...

Pair of Baroque wall angels with wings, loincloths and curly hair. Their hands are folded in prayer. Carved wood with a dark brown patina.

This is a gorgeous antique 17th century Flemish Verdure Tapestry depicting the noble children playing in the woods. The p...

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

A circa 1725 oil on canvas portrait of Louis George Simpert, as Hereditary Prince, the future Margrave of Baden-Baden (Deutsch: Ludwig Georg Simpert, Markgraf von Baden-Baden) portrayed one-quarter length in powdered wig and wearing ceremonial armor and crimson sash newly fitted in a period molded giltwood frame with bead-and-reel inner border from the Eli Wilner collection. Canvas measures 24.5" x 19.25". A related, but later portrait of circa 1735, attributed to the same unknown painter, is held in the collection of Lichtenthal Abbey, Baden-Baden. Biography: Louis George or Ludwig Georg Simpert, Margrave of Baden-Baden, born June 7, 1702 at Ettlingen Palace was the son of Louis William, Margrave of Baden-Baden and his wife, Princess Sibylle of Saxe-Lauenburg. Hereditary Prince of Baden-Baden from birth, at the death of his father in 1707, he succeeded as Margrave of Baden-Baden at the age of four. As such, his mother was regent of Baden-Baden until he reached his majority on 22 October 1727 at the age of 25. He married Maria Anna of Schwarzenberg April 8, 1721 at Český Krumlov Castle. The couple were the parents of four children, of whom only one survived infancy. After the death of the first Maria Anna in 1755, he married the Princess Maria Anna Josepha of Bavaria on July 10, 1755; the daughter of Charles VII, Holy Roman Emperor and his Austrian wife Archduchess Maria Amalia. The second marriage remained childless. Due to his passion for hunting instead of military service, he became known as "Jägerlouis", "hunter Louis", a play on his father's nickname of Türkenlouis ("Turk Louis") due to his famous heroics against the Turkish army at the Siege of Vienna...

Great oil on canvas depicting Madonna and Child. Carved, gilded and polychrome wooden frame with floral arrangements. Venetian, 18th Century. Dimensions in centimeters: CANVAS 69cm H x 51cm / FRAME 107cm H x 80cm. In art, a Madonna is a representation of Mary, either alone or with her child Jesus. These images are central icons for both the Catholic and Orthodox churches. The word is from Italian ma donna 'my lady' (archaic). The Madonna and Child type is very prevalent in Christian iconography, divided into many traditional subtypes especially in Eastern Orthodox iconography, often known after the location of a notable icon of the type, such as the Theotokos of Vladimir...

Northern Italian School, 17th century "Coronation of the Virgin" oil on canvas, 160X108.5cm no cornice good condition

Wonderful image after Carracci Fine Steel engraving. Published C.1850 Unframed.

A fine and large flemish 17th-18th century Baroque figural tapestry "A Royal Courtship" depicting an allegorical courting scene of a young princess meeting her prince at the watchful eye of a mesmerized queen standing behind her. A young girl supports the princess' dress train...

An antique pair of stunning French Baroque painted and partial – gilt carved architectural elements or wall panels, in good condition. These wall décor ornaments are very ornate and ...

This is a gorgeous antique late 17th Century French Aubusson historical tapestry depicting a beautiful and rich summer scene of a countryside with lush trees and vegetation, with a m...

Goya oil on canvas from xviii century The canvas is relined. It is from the same time that Goya made the cartons. The painting measures: 135 x 101 cm without frame. The dutch frame measures: 172 x 140 cm -The blind chicken (1789) is one of the cartoons that served as a model for the manufactures of the Royal Tapestry Factory of Santa Bárbara by Francisco de Goya...

An original hand-colored botanical engraving from Basilius Besler’s Hortus Eystettensis, published in Nuremberg in 1613. Executed at the transition between Renaissance naturalism and...

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...

A very fine baroque Franco-Flemish 18th century figural tapestry allegorical to triumph and love, depicting three maidens within a verdure backgro...

With arabesques and satyr mask.

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

Attribution to Francesco Solimena "Resurrection of Christ" 18th Century oil on canvas (129x77 cm.) framed good condition for the period Francesco Solimena, also called l'Abate C...

Gorgeous 18th Antique Century Silk & Wool French Verdure Tapestry, Country of origin: France, Circa date: 18th Century

18th Century oil on canvas painting depicting Saint Catherine of Siena bearing lilies and a book in her left hand and a crucifix in her right ...

17th Century Large Old Master Battle Scene Painting. Flemish School, circa 1610 - 1680. Oil on canvas painting depicts a dynamic battle scene fi...

Attractive Italian Gilt Leaf Wall Sconce with Stone Fruit. 1960's Italy. 45" x 25" x 4". Excellent condition.