Baroque Wall Decorations

Antique French Tapestry 1920 Handmade Fountain 6x8 Wool Foundation 1920 6'2" x 7'5" 188cm x 226cm A magnificent antique French tapestry depicting a scene of people among a founta...

Antique 17th century French Baroque Still Life with Fish. Net size: 35 x 62 cm Size with frame: 53.5 x 79.5 cm Restaured.

Antique painting, Flemish, flowers, Banks after Van Huysum Oil painting on canvas, from the 18th century, depicting a refined floral composition, made by a follower of Van Huysum, B...

Laurus Cassia. Yew tree. Taxes Baccata, Der gebeerte Eibenbaum. Handcolored engraving by Joseph Jacob Plenck, from “Icones Plantarum Medicinalium”, published in Vienn, between 1788 and 1803. Joseph Jakob Ritter Plenk or Plenck (1738–1807) was an Austrian physician and polymath. He is now known as a pioneer dermatologist. This exceptionally rare, folio engraving...

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

Pair of beautifully framed 20th century crackled paper prints depicting entrances to the Schloss Belvedere Palace in Vienna. One print is of the Main Palace Gate, featuring ornate wr...

Beautiful antique silver gilt hand carved wood wall shelf. Perfect for displaying art work or décor.

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.

Death of Socrates, oil on canvas, Unsigned, 18th century possibly Italy.

This 23 Karat Gold Gilded Plaque on Board is a stunning example of Italian architectural design from the 19th century. The piece features intricately car...

This beautiful 11.5 pottery charger is from Montelupo, Italy and is boldly decorated with a soldier on horseback. Vividly painted in yellow, green, and blue. Condition is very good, ...

1920 Antique French Tapestry Scene Celebration Trees 3'5" x 5'1" 104cm x 155cm "This is a Antique French Tapestry depicting a celebration amongst...

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

Aconitum lycoctonum Aconitum lycoctonum (wolf's-bane or northern wolf's-bane) is a species of flowering plant in the genus Aconitum, of the family Ranunculaceae, native to much of Europe and northern Asia. It is found in lowlands to the subalpine zone, mainly in forests and shaded habitats. Along with A. napellus, A. lycoctonum is of the most common European species of the Aconitum genus. They are also grown ornamentally in gardens, thriving well in ordinary garden soil. As such, A. lycoctonum can be found in North America, especially in eastern Canada, often in old gardens or as garden escapees. Engraved and drawn by Nicholas Robert...

PORTRAIT OF D. MARIA BÁRBARA DE BRAGANÇA (1711-1758), QUEEN OF SPAIN Circle of Louis-Michel van Loo (1707-1771) Oil on canvas Her Royal Highness, the Infanta Maria Barbara of Braganza (1711-1758) was the first-born child of King John V of Portugal (1689-1750) and his queen consort Maria Anna of Austria (1683-1754). Born in December 1711, she had the Convent Palace of Mafra built in her honour following a vow made by her royal father. Her status as Princess of Brazil, inherent to 18th century Portuguese presumptive heirs, would however be superseded once the queen gave birth to two male princes, D. Pedro (1712-1714) and D. José (1714-1777), preventing her from ascending to the throne. Daughter of one of the most illustrious monarchs of his time, Maria Barbara was carefully educated to become a fond admirer of the arts, and of music in particular, having had the Italian composer Domenico Scarlatti (1685-1757) as her music teacher. On the 10th January 1723 the young princess was betrothed to the Infante Ferdinand of Spain (1713-1759), eldest son of King Philip V (1683-1746). Six years later, on the 19th January, she entered her new country in a carefully choreographed ceremony that became known to history as the “Exchange of the Princesses”. This unique event took place on a specially built Bridge-Palace, a wooden, luxuriously decorated structure that included various modules and rooms, on both banks of the river Caia, the natural border between the town of Elvas in Portugal and of Badajoz in Spain. Simultaneously, on the same day that the Portuguese Infanta crossed the border to marry the Spanish Crown Prince, her new sister in law, the Infanta Mariana Victoria of Bourbon (1718-1781), her husband’s sister, crossed the same bridge in the opposite direction to marry Prince D. José, the Portuguese heir to the throne. Once married, Maria Barbara would spend 17 years as Princess of Asturias, only becoming Queen of Spain at her husband’s accession following the death of Philip V in 1746. She is portrayed in the 1743 painting by Louis-Michel van Loo (1707-1771) now in the Prado Museum, in which Philip V had himself represented with all his close family. The new Queen would take an important role at court eventually becoming the liaison between her husband and the King of Portugal, particularly throughout the negotiations for the Treaty of Madrid (1746-1750). Maintaining her interest in music, she patronized the Italian castrato singer Farinelli (1705-1782) while remaining close to her old master Scarlatti, having herself composed some sonatas for a large orchestra. She would also commission and fund the building of the Royal Salesians Monastery complex in central Madrid, where both her and Ferdinand VI are buried. The portrait we are presenting for sale shows the Queen in half-length, turning left at three quarters. She is wearing a blue low-cut dress embroidered with flowers and foliage, over a lace cuffed white blouse, and an ermine cloak pined on the left-hand side by a diamond broach. The powdered hair style is held sideways by a seven diamond and black plume headdress and topped by a small gold and pearl crown. The right arm rests on a cushion while the left hand, at chest height, holds a miniature male portrait. The Infanta’s features are analogous to the 1725 portrait by the painter Domenico Duprà (1689-1770), also in the Prado Museum collection. Further similarities can be found in another portrait by Louis-Michel van Loo, in which a seven diamond and black plume headdress is also present. In this work, the cushion supporting Maria Barbara’s right arm has also some obvious similarities to our painting. The same diamond headdress reappears in Van Loo’s above-mentioned portrait of Philip V’s family dated from 1743. It is nevertheless in Lisbon’s Ajuda National Palace that it is possible to find an almost identical depiction of the Infanta holding a miniature portrait of her husband. In it, the future Ferdinand VI is portrayed facing right at three quarters and wearing a curly wig, suit of armour, the golden fleece insignia and a blue band, in a composition that closely resembles an 18th century Spanish school painting that appeared in the art market in January 2016. Another detail common to various portraits of the Portuguese Infanta and Queen of Spain is the small gold and pearl crown on her head. In another Van Loo painting, also from the Prado Museum, in which Maria Barbara is portrayed as Queen, this crown is represented together with a headdress similar to the one previously described. Another two paintings by the same artist, at the Royal Academy of Saint Ferdinand, include the same ornament. We must also refer the paintings by the artist Jean Ranc (1674-1735). In one, dating from 1729 (Prado Museum), the Infanta is depicted outdoors holding a flower bouquet and wearing a yellow silk dress with red cloak, and a set of diamond and ruby jewellery that includes a headdress similar to the one present in our portrait. Another work by the same artist, belonging to the Complutence University of Madrid, depicts the Infanta sumptuously dressed in identical colours to our painting and wearing an elaborate headdress and diadem. These portraits, beyond their iconographical importance as contemporary records of the Infanta and Queen Maria Barbara, are also illustrative of 18th century fashion for jewelled head dressing. Often, flowers were combined with joyful adornments, composing almost theatrical displays that would reinforce the ostentatious nature of the image. The ornamental flowers and the chromatic character of the jewels would complement the luxury of the colourful dresses in blue, crimson, green or other silk shades, in compositions whose sole purpose was to highlight a royal sitter’s wealth and power, becoming an essential statement accessory within the strict court protocols and codes of conduct. Circle of Louis-Michel van Loo (1707-1771) Slowly but steadily, the resolute, tranquil and dignified attitude of Renaissance and Baroque portraiture becomes artificial and presumptuous. Mid 18th century society favours elusive expression and psychological deepness, albeit limited to the face, that, with emphasis on detail, on the rich colour palette and on changing costumes and landscapes, associated to the courtliness of gestures, creates a strongly artificial environment while maintaining a highly poetic intrinsic character. Louis-Michel van Loo followed a dynasty of famous Dutch origin artists that had settled in France. Initially taught by his father, Jean-Baptiste von Loo (1684-1745), the younger van Loo studied in Turin and Rome and frequented the Paris Academy. In Rome he worked with his uncle Charles-André van Loo (1705-1765) and become a painter for the Turin Court. In 1737 he arrived in Spain being summoned by Philip V to succeed Jean Ranc as painter of the king’s chamber. In Madrid, his work covers the numerous Court commissions and the Royal Saint Ferdinand Fine Arts Academy, of which he was a founding member and director for the Painting department in 1752. Is production at court consisted essentially of numerous portrait paintings, often Royal gifts...

This late 17th century Franco-Flemish verdure tapestry, signed RAET, worked in fresh colors, depicting animals in a wooded river landscape with a bird of prey attacking a rabbit in t...

Holy wall font. Bronze. Spain, 17th Century. Small font for holy water designed to be placed on a wall, which has a container decorated with moldings and architectural elements and...

Wonderful highly polished pewter charger. Measures: (20 inches). Amazing distressed patina English, Mid-18th Century. Most likely, London The pewter has been polished to its...

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

SHIPPING POLICY: No additional costs will be added to this order. Shipping costs will be totally covered by the seller (customs duties included). Hercules Resting from His Labors Red chalk on paper...

Pair of original Baroque wooden putti / winged cherubs. We were told that they originate from a church in the French Pyrenees. We suppose they are from circa 1650 to 1750. The p...

Two beautiful antique and light friezes in gilded wood: one is cm. 40x16,5 x depth 3. The other one is cm. 36 x 30,5 x depth 3,5. To put where you want.

A beautiful Italian Still Life oil painting on old canvas of an urn holding a bouquet of assorted flowers set on a ledge. 17th century....

Beautiful etching representing the classic religious subject of the "Adoration of the Magi" by the Baroque painter and engraver Pietro Testa known as il Lucchesino. The print derives from an oil on canvas of the same name now in Montpelier. Identified by the TPL monogram on the right and the dedication signature. Paolo Bellini in the book "L'opera incisa di Pietro Testa" (The engraving work of Pietro Testa) ,published in 1976 by Neri Pozza in Vicenza, identifies this work as an example of the third state of three since, respect to the second state, the address of Gio Giacomo Rossi is added . In the lower margin there is the dedication in Latin to: Most illustrious and most reverend (cardinal) Gerolamo Bonvisi, Cleric of the Apostolic Chamber, D.D. The star on the left often blushes with the light of evil / Kings live here so that they recognize the Lord, / happy face good star shines benignly./ Petrus Testa Pietro Testa (1611–1650) was an Italian High Baroque artist active in Rome. He is best known as a printmaker and draftsman. He was born in Lucca, and thus is sometimes called il Lucchesino. He moved to Rome early in life. One source states he was ejected from the Cortona studio in 1631, soon after joining the workshop. Others state Testa trained under Pietro Paolini or under Domenichino, for whom he worked under the patronage of Cassiano dal Pozzo. He was friends with Nicolas Poussin and Francesco Mola. Some of his etchings, which often include work in drypoint, have a fantastic quality reminiscent of Jacques Callot, or embellishments of his Genoese contemporary Giovanni Benedetto Castiglione and even presciently suggest William Blake. His Sacrifice of Iphigenia appears to have influenced Tiepolo's rendition at Villa Valmarana Ai Nani in Vicenza. His early prints, from the 1630s, were often religious and were influenced by Federico Barocci...

Folio Leaf: 37 x 23 cms. Hand colored copper engraving. Matthäus Merian der Ältere (or "Matthew", "the Elder", or "Sr."; 22 September 1593 - 19 June 1650) was a Swiss-born engr...

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.

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

Very large decorative French Baroque handcarved basswood white painted flower guirlande. Decorated with carved flowers and foliage: 4 roses, 3 lily's and a lot of leafage. Probably ...

These wonderful porcelain plaques were created in circa 1860 by the prestigious Konigliche Porzellan Manufaktur or KPM (German, founded in 1763). The plaques feature beautiful paintings based on works by the famous Seville-based Baroque artist, Bartolome Esteban Murillo (Spanish, 1618-1682). One plaque is decorated after Murillo...

Late 17th/early 18th century carved and polychrome Italian Angel figure. Exquisitely hand carved sculpture with wonderful movement to the draped body of the Angel. Retaining original...

This beautiful pottery charger is from Montelupo, Italy and is hand painted with two soldiers sword fighting. Vividly painted in yellow, green, and blue. C...

A fabulous early 19th centruy Italian Console, wall Bracket is an incredible example of venetian crafstmanship of that time. The top has a very good and spacious size. Gold gilded an...

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

This magnificent Madonna and Child belongs to an Itlalian (Roman) school of painting and could be a masterpiece of a Carlo Maratta /Maratti (1625-1713) school. Maratta's style of Bar...

A mid-18th-century Italian terracotta relief of the Virgin & Child appearing to St Philip Neri In a silver filigree, gilt-bronze and gilt-copper-mounted, lapis lazuli and wood frame. Known as the ‘Apostle of Rome’ due to his labours amongst the sick and poor of the city, Philip Neri (1515-1595) became an influential figure of the Counter-Reformation. Many miracles were attributed to him, and he was beatified by Paul V in 1615. His popularity and place in the folklore of Rome created a demand for his depiction within the church. For example, Carlo Maratta’s painting for San Giovanni dei Fiorentini, the preliminary study for which bears relation to the present composition (Royal Collection, inv. 905553). The fresh and freely modeled handling of the present relief is in the tradition of Giovanni Antonio Mazzuoli’s (1644-1706) small-scale modelli for altarpieces (C. Sisi and G. Gentilini, La Scultura : bozzetti in terracotta, piccoli marmi e altre sculture dal XIV al XX secolo, Florence, 1989, nos. 92-95). Additional information: Origin: Italy Period: Circa 1750, 18th Century Style: Religious, The Virgin and...

This beautiful pottery charger is is decorated with a woman carrying a basket of flowers on her head. Vividly painted in yellows, greens, and blues. Condition is very good, does have minor chips commiserate with age and use. Back is signed Vincent Garnier...

Laurus Cassia Die Cassie Cinnamomum cassia, called Chinese cassia or Chinese cinnamon, is an evergreen tree originating in southern China, and widely cultivated there and elsewher...

This antique stunning portrait of Madonna in Sorrow came out from a Palazzo in Florence and an absolute eye catcher. The colors and details are incredible and very typical for an Ita...

This stylish and chic pair of framed Spanish nobility portaits are fabricated with cast brass frames and lacqured paper. The set was purchased by the ...

These fantastic unusual four sconces have an incredibly detailed design. Each of them fit large candles with a diameter 7 to 9 cm. The Sconces are sold as they are, no wall mountings...

'Sea Garden' panels in plaster by British Master craftsman Geoffrey Preston MBE. The designs for this pair of decorative panels spring from the series of drawings the artist made for the The Goring...

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

Dimensions- Frame: H: 32 3/4in W: 39 1/4in D: 2 1/2in Painting: H: 25 1/2in W: 32 1/4in This Oil Painting On Canvas Titled "Checkmated" by Alex De Andreis (1880-1939) is truly ...

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

" Ceres and Phytalus" To left, Phytalus, kneeling, receives the fig tree from the goddess Ceres, standing to right, as a reward for his hospitality. Etching and drypoint, circa 1662...

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...

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

Antique French Tapestry Rare Fountain and scenery Large Tapestry 5x7 1920 circa 1920 "A magnificent antique French tapestry depicting a scenic river including a fountain and a ...

Ranunculus luteus aconiti folio magno flore After Nicholas Robert (1610-1684), engraved by Abraham Bosse (c. 1604 – 14 February 1676). On fine water...

18th century, French Painting with Landscape with Ruins Measures: frame cm L 165 x H 95 x P 10; canvas cm L 142 x H 71 This painting depicti...

"Arch dedicated to Hercules" and "Arch dedicated to Bellerophon" Splendid and very rare etchings belonging to a suite of subjects executed for the preparations of the "Celebrations for the entry into Antwerp of the Cardinal-Infante Ferdinando of Habsburg-Spain on 17 April 1635". The sketches for the decorations were all drawn by Sir Peter Paul Rubens and the execution of the etchings was entrusted to Van Thulden. Bottom left: P.P. Rubens. Bottom right: G. Gervatius (who was commissioned to bring together the illustrations of the arches in a special volume) and Van Thulden. Laid paper with watermark - copper imprint - margins - excellent condition. At the end of 1634 Peter Paul Rubens (1577-1640) was invited to make a series of drawings to decorate the city of Antwerp on the occasion of the solemn entry of the infant cardinal Ferdinand of Habsburg (1609-1641) who, after his death of Archduchess Isabella Clara Eugenia (1633), Spanish governor of the southern Netherlands, had been elected as his successor. Generally in these circumstances, the itinerary was articulated through a series of stations and the city - in its main urban hubs - was adorned with decorations and ephemeral apparatuses which, without solution of continuity, covered the facades of the palaces, churches and convents facing the parade axis of the celebratory itinerary, testifying to the participatory role of the various public and private institutions that took part in the feast1. As had happened for the entrances of Charles V in 1520, of Philip II in 1549 and of the archdukes Albert and Isabella in 1599, also in this case, on 17 April 1635, the most important streets and squares of Antwerp were enriched with arrangements: temporary altars, four scenarios, a portico and large triumphal arches built in wood, over twenty meters height, decorated with paintings, sculptures and allegorical scenes. The references to the ancient alluded in this case to the greatness of the Habsburgs and to the merits of Ferdinand for the victory obtained over the Protestant armies of Sweden and their German allies. The choice to use the triumphal arch has its roots in the "city of the popes" and must be read as a connection with the triumphal and modern arches, with Rome and with the "possession" ceremony, placing the emphasis on its centuries-old use . In the elaboration of the drawings and sketches Rubens proved to be a true connoisseur of architecture, but what is most surprising about the artist is the casual use of architectural language and fidelity to sixteenth-century Roman models. In order for the memory of these works to be perpetuated over time, some artists were commissioned to etch the ephemeral apparatuses and, under the guidance of the painter Theodor van Thulden...

The Sacred Heart of Jesus, Oil Painting on Canvas 18th century An antique oil painting depicting the sacred heart of Jesus. Oil on canvas with p...

Spanish school painting "Naval Battle" 19th century. Oil on canvas Measures: 115cm x 48cm. Very good conditions without frame.

Pair of 20th Century decorative Venetian canal paintings, After Canaletto Each one Signed 'Maffel' A stunning pair of late 20th Century oils on canvas, views of the Grand Canal in Venice Italy, in ornate carved giltwood frames. After works by the iconic Venetian painter...

Francesco Maria Raineri, known as Schivenoglia (Schivenoglia, Mantua 1678-1758) Esther and Ahasuerus oil painting on canvas Size: 52x137 cm Work exhibited during the exhibition dedicated to the homonymous painter: “Francesco Maria Raineri - Lo Schivenoglia 1676-1758, works from private collections” and published in the catalogue, page 13. Esther is the daughter of Abicàil of the tribe of...

Painting with the still young Tsar Peter I. Due to his dark, rather unofficial jacket and the dark background the focus of the painting is based just on the face of the proud emperor...

18th Century French Drawing 18TH CENTURY FRENCH DRAWING PORTRAIT OF A LADY FROM THE 18TH CENTURY DONE IN PASTEL THE FRAME IS BACK IN GOLDEN WOOD ...

A beautiful piece with a portrait of a shepherd boy, with this great touch of Spanish artist.