Baroque Wall Decorations

Francesco Aviani (Italy - Venice, 25-11-1662 / 1715) att. Couple of paintings depicting Capricci Oil on canvas, 135 x 183 cm, without frame The two large and fine paintings depict two illusionistic architectural renderings, with views of colonnades and arched buildings, animated by figures. The compositions are characterized by the harmony with which the painter introduces the sumptuous architectural monuments, the mirrors of water, the buildings in the distance and the views of the landscape. Dominates with a color on the tones of brown and ochre that stands out on the blue sky, marked by some cloud of steam. The insertion of the figures to enliven the architectural views also balances with the set. The Capriccio, an artistic genre that has made its way into Italian painting since the 17th Century, is characterized by the representation of fantastic architectures or prospective inventions, sometimes combined with elements drawn freely from reality. The two paintings are an example of this type and they are a very interesting and Fine artwork. The remarkable pictorial quality emerges both from the composition of the ensemble and from the way in which the artist describes the views with great attention to detail, highlights and refined, perfectly realistic, chiaroscuro. The same must be recognized for the figures: these are described with a wise brushstroke, quick and quick touches give the dynamism of the moment that is captured, as if time had stopped to show and narrate what is happening. The painting on the right represents a large Baroque building in stone and paved with marbles, two floors, with moving façade, large columns with corinthian columns, a large portal with a staircase with large footsteps, a balustrade with string, from which some figures appear, and two equestrian monuments in bronze. The sumptuous building overlooks a large POOL of water, with a gushing fountain, around which some characters sit. In the second floor is described a white palace from which rises a tower crowned by a structure with wrought iron loggia. In addition there is a bridge and some architectural ruins behind which some mountainous reliefs fade towards the horizon. On the staircase is described a particular scene. The people seem to be part of a very precise story. A woman, in the shadow of a parasol supported by a servant, would seem to drive out of the palace a man, who, taken under his arm by two maidens with a determined attitude, is led to a boat. The scene could be identified with the biblical episode of the parable of the prodigal son (Luke 15,11-32), at the moment when the prodigal son is robbed and driven away by the harlots. The episode tells of a man with two children. The youngest said to his father: “Father, give me the part of my inheritance”. And the father divided the substances. After not many days, the youngest son, collected his things, left for a far country and there he lost his substances with prostitutes and living as a debaucher. When he had spent everything, there came a great famine in that country and he began to find himself in need. Reduced to hunger, he was forced to be a pig herder to survive. He therefore meditated in his heart to go to his father and ask for his forgiveness and to be welcomed anew, even as a servant. While still on the road, however, the father saw him and ran towards him, receiving him with open arms. He then ordered his servants to prepare a great feast for the occasion, killing for the purpose the "fatty calf". The firstborn did not understand why his brother was given such treatment, and reminded the parent that he, who had always obeyed him, had never received a single kid to celebrate with his friends. The father answered him: «Son, you are always with me and everything that is mine is yours; but it was necessary to celebrate and rejoice, because this brother of yours was dead and came back to life, was lost and was found». The parable of the prodigal son was often portrayed in painting and the scene he finds most is certainly that of returning home in his father’s arms. Among the many is a canvas by the famous painter Giovanni Paolo Pannini (or Panini) (Italy – Piacenza, 1691– Rome, 1765) kept at the Hallsborough Gallery in London. Rather rare, however, is the scene of the prodigal son driven and robbed by harlots. There is an engraving by Hans Collaert II (1561-1620) in which this moment is described in the background compared to the moment, narratively later, in which he is penitent among the pigs. The second painting, certainly pendant of the first, represents a similar palace, with some characters overlooking the balustrade marcapiano and other figures around the large bathtub quadrilobata. In the foreground is described a monument with two large stone sculptures. In the distance some architectural elements and, beyond, the mountains are lost on the horizon. The studies related to the numerous painters of architectural views and caprices, active in Italy, and the archival documents found, which could better clarify commissions, biographies and certain works, are scarce and sporadic. Therefore there are still many difficulties in reconstructing a catalogue of autograph works for each author. Through paintings in private collections, in museums and paintings passed on the antique market it is however possible to advance some attributions in order to better delineate the various artistic figures. The style of the works studied here leads to a dating that runs between the 17th and 18th Centuries, with obvious influences dictated by the perspectives of the brothers Galli Bibiena. The analysis of the architectures and the chromatic palette suggests that we are in the presence of a northern Italian and Venetian author. Observing the decorations and the volutes, the brightness and the perspective disposition in fact, we find several analogies with those used by the Vicenza painter Francesco Aviani, excellent in pictorial perspective and architectural views. The biographical profile of Francesco Aviani (Italy - Vicenza, 1662-1715) was essentially traced in 1956 by Andreina Ballarin, then re-visited by Federica Spadotto in 2014 and Giancarlo Sestieri in 2015. Certain documents about his life are scarce, as are the documented works. He was born in Venice, probably on 25 November 1662, to Bernardo and a Magdalene whose surname is unknown, and was baptized on 3 December 1662. Between 1701 and 1703 he worked, together with his brother MarCo, sculptor, for the fresco decoration (now illegible) of the church villa in Soella (Vicenza). On October 16, 1703 he married Isabella Carcano. On March 26, 1715 he made a will and died on April 3 of the same year, in Vicenza. The frescoes in the refectory of the sanctuary of Monte Berico in Vicenza are considered authentic works by Aviani, probably made in 1708; the paintings preserved in the Civic Museum of Vicenza: “Landscape with Lazzaro and the rich Epulone”; “Christ among the doctors”; “The miraculous fishing”, works not datable but with attribution corroborated by style. In addition, the frescoes in the east and west corridors of the Villa La Rotonda, near Vicenza; the fresco in the apse basin of the chapel of the church S. Croce, Vicenza, now destroyed; the frescoes of the central hall of Villa Camerini a Montruglio (1714) and a painting of a “Porto Regio”, of which we have a print engraved by Dall'Acqua. From his works emerges the artistic background that animated the Venetian culture in the early eighteenth century. The scenic grandeur with which Aviani treats the architecture also suggests a stay in Emilia of the painter, in which he could have come into contact with the environment of the Bibiena. These contacts would be confirmed by the press of Cristoforo Dall'Acqua (Vicenza 1734-1787), “Il porto regio”, after a painting of Aviani. The press was part of a group of engravings, representing royal buildings, reproducing paintings of the Bibiena. In the eyes of Dall’Acqua, therefore, Aviani’s work was not foreign among those of the Emilians. Inside the sumptuous architectural whims, Aviani often depicts biblical scenes, in which the characters share the space and the narrative rhythm, along with figures drawn from everyday scenes, memories of the Veronese and Bassano heritage. Also in the works covered by this study the author does not seem to want to give up a biblical subject, though the purpose of the paintings appears to be clearly a staging scenography-architectural within which the characters are relegated to the role of extras. From the examination of the architectural Capriccio gathered under the name of Aviani then emerge common elements. The comparison between these works and the works in question highlights the proximity of the compositions. The imposing and scenic architectures are in fact equally characterized by the perspective-scenographic ability diffused in emilian “quadraturisti” and in Bibiena work. In fact, you can see the spectacular slender architecture in the lower part, the loggias that create chiaroscuro games with arches and binate columns placed on massive bases and overhung by projecting cornices. Significant also the comparison with two paintings with architectural whims in a night vision attributed to Francesco Aviani. In Aviani’s works it is possible to find a certain knowledge of the Roman Codazzi paint nd its early development of the eighteenth century, developed with the Locatelli, the Pannini and the less known Domenico Roberti. To Roberti have been recently attributed two works that have some compositional affinity with the canvases in question. The same can be done for a work on the antique market, attributed to Pietro Francesco...

Adolf Constantin Baumgartner Stoiloff (Austrian/Russian, 1850-1924) A fine oil on board painting "Charging Cossack Warriors on Horseback" within an ornate giltwood frame, circa 1890 Born in 1850 in Linz (Austria) Stoiloff died in Vienna in 1924. According to a research of Russian literature, he studied in the 1880s at St. Petersburg Imperial Academy of Fine Arts. He was very well known for his Russian horse...

A remarkable set of three antique Austrian carved wooden candlesticks dating from the 18th century, consisting of a matching pair and one taller example. Hand-carved from solid wood ...

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 ...

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...

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...

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...

18th Century or Earlier, Oil Painting on Canvas and Later Laid to Panel. This captivating oil painting of the Madonna and Child is attributed to the School of Anthony van Dyck, one...

A striking Spanish Baroque painting depicting Saint Andrew, executed in oil on canvas during the 18th century and presented in an impressive period carved and gilded frame. Measurin...

"Saul with the Pythoness Evoking the Shadow of Samuel". Beautiful oil on Canva, work of the English school of the entourage of Benjamin West. This oil on canvas represents a bibl...

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

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...

An Exquisite Italianate Arcadian Landscape Oil Painting This late 18th-century Italianate classical landscape oil painting beautifull...

George Barbier watercolor illustration, "Louis XIV" 1929 This intricate hand drawn illustration by George Barbier is signed, dated and annotated by the artist in ink. This illustr...

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...

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...

This stunning 19th-century French decorative fan is a testament to exquisite craftsmanship and artistic elegance. The fan leaf is meticulously hand-painted on vellum or silk, featuri...

A rare and highly decorative set of three 17th-century Genoese textile panels, woven in silk and velvet and presented in elegant custom frames. Each panel measures approximately 127 ...

This is a very fine high quality rare authentic Antique French Tapestry made with very fine wool & silk. This was woven in green silks and wool. It is depicting extensive verdure...

A very large hamered copper wall plate depiction Saint Martin on horse in relief. Signed A Louis. Early 20th century. Measures: Diameter 75 cm.

Old Master Oil on Canvas Painting depicting "The Adoration of the Magi".. This painting is one of the most revered subjects in Christian art. Painting features multiple figures i a ...

Oil on canvas, early 19th-century painting, Wedding, Italian school. Painting, oil on canvas depicting a wedding, early 19th-century Italian school, with a beautiful period gilded s...

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...

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, ...

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

This is a classic Italian late 17th century floral still life. Although the painting is not signed, it has all of the hallmarks of being created by a master painter. The painting and...

This charming vintage wall bracket exemplifies the exuberant ornamentation of Baroque design, often seen in grand European homes. Expertly hand-carved from wood, the corbel structure...

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

A light-brown, green antique Austrian Baroque oil on canvas painting by Franz Xaver Hornöck in a hand crafted original black, partly gilded wooden frame, in good condition. The vinta...

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

19th C Limoges Enamel of Thomas Francis, Prince of Carignano after van Dyck A exquisite large Limoges enamel of the portrait of Thomas Francis, Prince of Carignano by Anthony van Dyck, 1634. In a finely carved giltwood frame. Unsigned. The original work was created in 1634 painting by Anthony van Dyck, Known as one of the finest equestrian portraits, It depicts Thomas Francis, Prince of Carignano on a horse, as an allegory of his holding the reins of command even in difficult times. The prince is wearing the insignia and red sash of the Supreme Order of the Most Holy Annunciation, conferred on him in 1616 by his father Charles Emmanuel I, Duke of Savoy...

After Anthony van Dyck (1599–1641) Portrait of a Gentleman Oil on board, 19th century Dimensions: 54 × 44 cm Framed: 65 × 55 cm This high-quality copy after Anthony van Dyck faithfu...

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...

A large Flemish 17th-18th century baroque pictorial tapestry "The Royal Garden". The large tapestry depicting an allegorical park-scene of R...

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

Italian Grand Tour Miniature of the Holy Family, Signed R. Tomassi, Rome, 19th Century Measurements: 3" wide x 4" high (4.5" to top of hanging ring) A finely painted Italian minia...

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

17th century, Pair of paintings depicting Architectural Caprices with Bacchanal and Sacrifice Scene, Alberto Carlieri (Rome 1672-1720) Oil on canvas; Dimensions: canvas cm H 73.5 x W...

Pair of 19th Century Italian Painted and Gilt wood Wall Brackets. Stunning large pair of Italian Baroque style painted and gilt wood wall brackets, wall shelves or wall consoles to d...

17th century, Italian oil on canvas painting with battle between Christian and Turkish cavalry The oil on canvas painting depicts a battle between Christian and Turkish cavalry. C...

This is a charming naive painting of a young John Davis, son of Gregory Davis of Norfolk, painted by Bridget Bereners (?). The exquisite quality of the framing is an indication of th...

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...

Wonderful image after Rembrandt. Fine steel engraving. Published by Fisher, London. circa 1840 Unframed.

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...

This enchanting circa 1880 painting portrays a graceful young woman strolling through a lush garden landscape, her light Empire-style gown flowing gently as she carries a small bouqu...

This an absolutely magnificent unique 17th century painting illustrates pirates in the time of Barbary Slave Trade (European slaves were acquired by Barbary pirates...

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...

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 ...

Antique French Aubusson Tapestry Birds Wool Large "This is an outstanding antique French Aubusson tapestry in a fantastic large size- This piec...

This magnificent 18th-century original oil on canvas portrait depicts a distinguished gentleman, likely a military officer, rendered with the masterful precision of the Baroque era. ...

This original 18th century frame is silver gilded over copper. It is elaborately embossed and chiseled. The cartouche is surrounded by rocaille and volute motifs. The Carta is mounte...

18th Century Portrait of a Noblewoman in period attire, Oil on Canvas later mounted on board. Woman is dressed in richly detailed period attire and gazes confidently outward. A delic...

JAN BRUEGHEL School "VELVET" 17th Century "Infant Bacchus". Oil on copper. Minor flaws in the paint. Dimensions: 17 x 21 cm with frame: 32cm x 36cm Note: Label with the following ...

Venetian School painting of four angels, allegorically depicting the variable winds of change and time. Unsigned, believed to be by a follower of Pietro Li...

Italian Venetian (17/18th Century) gilt wood carved wall bracket with winged angel and foliate details.

Post Antonio Allegri di Correggio (1489-1534) "Adoration of the Child", oil on cardboard with carved and gilded frame. Dimensions: 20 x 15 cm without frame 40cm x 35cm with frame Or...

Oil on canvas, Vase of Flowers by Francesco Caldei, known as Francesco Mantovani, Mantua 1584-Venice 1674. This is a painting created around 1600 by Francesco Caldei, known as Franc...

Alberto Carlieri (Italy-Roma 1672-1720), "Christ and the adulteress", Oil on canvas, with frame cm H 115 x L 151 x 6.5, only canvas H 98.5 x L 135 cm...

Exquisite Rare 17th Century Belgian Tapestry with Biblical Heroic Scene and Ornamental Borders, Origin: Belgium, Circa: 17th Century

Bloemaert Style Figure Study – Man with Jug, 18thC Dutch Etching, Van den Bosch Etching by Anthonie van den Bosch after Abraham Bloemaert, not to be confused with the chiaroscuro wo...