Baroque Wall Decorations

Baroque-style oil on canvas depicting an exquisite composition of floral garlands arranged against a deep, dark background. The work is notable for its elegant compositional balance ...

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

Walnut paneling with a built-in door on the right. The style is reminiscent of French paneling or that of northern Italy in the French style, featuring contoured panels and understat...

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

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...

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

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

19th century Italian still life painting executed in oil on canvas. The composition features fruit, gourds, and a bird arranged in a traditional still life format. The painting shows...

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

A large antiqued reproduction oil painting after Antoine Watteau. Features an antiqued canvas. Frame: 75.5 cm (29.72 inches) x 66.5 cm (26.18 inches) Canvas: 55.5 cm (21.85 inches) ...

Late 17th century Italian Baroque lintel carved in triangular shape with acanthus scrolls, centered by a winged cherub face. Polychrome painted. Superb Italian craftsmanship. Previously refinished. Currently mounted to an upholstered headboard panel; could be remounted professionally to another substrate. Carved lintel...

An elegant and richly carved pair of Italian 19th century Baroque st. Giltwood wall brackets. This stunning pair are designed with three handsome scrolled and tapering acanthus leave...

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

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...

17th Century Pair of Flemish Tapestry ( 2' x 3'4" - 62 x 102 )

Portraits of the monarchs Louis XIII and Anne-Marie of Austria as hunters. Oil on canvas. Possibly Madrid school, 17th century. Pair of full-length portraits showing the characters against natural backgrounds, with landscapes with mountains in the distance and trees. The male character, who looks directly at the viewer, has dark hair and a fine moustache, and is dressed in a ruff, a doublet, leather gloves, a blued breastplate with gold details, breeches, white silk stockings and cavalier boots. The lady, who modestly lowers her gaze, has her head partially covered with a hat decorated with a brooch and white feathers; she is dressed in a ruff and a dress with a wide-skirted doublet and skirt, wide-mouthed gloves and a short cloak with a decorated edge gathered around the left arm and placed over the right side of the skirt. Alongside these “hunting” dresses, they appear carrying firearms and accompanied by large dogs. The king's dog is standing alertly, turning his head to one side. The queen's dog is sitting looking at her, with a collar and a rope that she holds in her left hand. The male subject is clearly the French King Louis XIII (Fontainebleau, 1601-Saint-Germain-en-Laye, 1643), monarch of France and Navarre (1610-1643), son of Henry IV of France and Marie de Médicis and father of Louis XIV of France. Compare with other portraits: by Rubens, painted around 1622-1625 at the Norton Simon Museum (Pasadena, California, USA); by Philippe de Champaigne, painted in 1635 and kept at the Museo del Prado (Madrid, Spain); the painting by Frans Pourbus the Younger from the 1920s at the Musée des Beaux-Arts in Chambéry (France); etc. Louis XIII married Anne of Austria, daughter of Philip III of Spain, in 1615. This was brought about by the marriage agreement of Fountainebleau (1611), which stipulated the future wedding of the Prince of Asturias, Philip IV, with the French princess Isabella of Bourbon, and that of the French monarch with Anne. Anne Maria Mauricia of Austria and Austria-Styria (Valladolid, 1601-Paris, 1666) was an Infanta of Spain and Portugal as the daughter of Philip III of Spain and Margaret of...

This is a monumental and spectacular 18th century, or possibly early 19th, oil on canvas of the Italian school. The canvas depicts a shepherd serenading a maiden in a wooded glen. B...

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 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...

Exceptional large scale portrait painting newly identified as that of Karel van Lynden, Lord of Swanenburg (c. 1707 - 1742) portrayed bewigged and in crimson mantle-enwrapped armor a...

This pair of oak cherub brackets, or “consoles murale” originate from France and date to the mid-19th century. The intricate carvings adorning these mar...

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...

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 ...

"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...

Gorgeous small beech wood putto (angel) from mid-century Germany. Fantastic 1950s woodwork, hand carved. Beautifully curved angel hair held with a ribbon, feathers just gorgeous! A ...

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 ...

Rare and unusual pair of 19th century Italian candle reflector remnants, , hand crafted in brass with hammered floral motifs and the pressed initials ...

An 18th century Italian Venetian-style wall mirror with original silvered patina.

Copy of a portrait of "Emanuele Filiberto", Italian military leader of the 1500's

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

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

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...

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...

Antique baroque style painted and gilt decorated wall bracket, 18th century. With a mid to late 20th century marble top, a gilt decorated cupid face with wings.

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

Manufactured by Aubusson royal manufacture

Believed to be original Cusco school portraiture of St. John The Baptist, wielding a cross near the lamb of God. Good Condition. Wear is consistent with age. Minor to moderate paint...

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 ...

Exceptional fragment of a baroque altarpiece in carved and gilded wood. The technique used in the conception of this piece is exceptional, the different elements have been devastated...

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...

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...

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

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

Royal Delft Collectors Portrait plate vintage handpainted Dutch Delftware - earthenware Style: Baroque, Vintage, Antique, Rustic Large blue and white cabinet plate - wall plaque Depi...

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...

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...

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...

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

Ancient gilded wooden frieze carved with leaves and flowers. Another example of the rich French woodwork of the 18th century. ref. O/7347.

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

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...

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...

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...

**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...

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...

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...

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...

Decorative Botanical Engraving of Sedum & Succulent Plants, 1737 Description: An original 18th-century botanical plate from Johann Wilhelm Weinmann’s celebrated “Phytanthoza Iconographia,” one of the most ambitious and visually striking botanical publications of the early 18th century. This finely detailed plate, numbered 93, depicts several varieties of Sedum and related succulent plants, including stonecrop and houseleek. The plants are presented with remarkable botanical detail, showing fleshy leaves, flowering stems, delicate blossoms and exposed root systems. Soft shades of green, yellow and pink give the composition an especially decorative quality. Johann Wilhelm Weinmann (1683–1741) was a German apothecary and botanist. His monumental “Phytanthoza Iconographia,” published in Regensburg between 1737 and 1745, contained more than 1,000 botanical plates and was particularly innovative for its use of color printing combined with hand finishing. The illustrations are today admired both as important works of botanical documentation and as highly decorative examples of 18th-century natural history illustration. Artist / Maker: Johann Wilhelm Weinmann (1683–1741) Publication: Phytanthoza Iconographia Plate: No. 93 Date: circa 1737–1745 Medium: Color-printed mezzotint and engraving with hand coloring Condition: Good antique condition overall, with expected signs of age including light toning, occasional spotting, minor marks and small imperfections to the paper. Please examine the photographs carefully as they form an important part of the condition description. Please contact us if you would like a more detailed condition report. This is an original antique print published in the 18th century, not a modern reproduction. Sold unframed. Any framed or interior images are for presentation and inspiration only. Keywords: Johann Wilhelm Weinmann, Weinmann botanical print...

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...