Baroque Wall Decorations

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...

17th Century Italian Stucco plaster fresco This highly decorative and imposing Italian fresco most likely dates from the early part of the 17th Century although with some later resto...

An exceptional early Cuzco School painting, naive depiction of the Holy Family, presented in a contemporary wooden frame. The Cuzco or Cusco school was a Roman Catholic artistic tradition that began in the 1500's in Peru, following the Spanish conquest and subsequent attempts by the Spanish invaders and missionaries to implement the Catholic faith and associated customs upon the Peruvian people. The school was established in the ancient city of Cusco which had previously been the capital of the Incan empire. Bernardo Bitti arrived in Peru in 1583, and with his arrival the acceleration of Cuzqueno Art flourished. During his two stays in Cusco, Bitti was commissioned to make the main altarpiece of the church of his Order, replaced by another after the earthquake, and painted some masterpieces, such as The Coronation of the Virgin, currently in the museum of the church of La Merced, and the Virgen del pajarito, in the cathedral. Cuzco School paintings are marked by their baroque influenced imagery and the subjects of the paintings shown with light focused upon them. Cuzco art...

A late 18th century copy of a painting by Claude Lorrain titled, "Port scene with the Villa Medici" the original painted in 1637 and now hanging in the Uffizi Gallery in Florence. Th...

17th Century Italian School "Saint Joseph and the Child" oil painting on canvas 95cm x 67cm measures without frame frame size: 10cm good conditions golden frame Private Italian Colle...

In the style or School of the Important Old Master Guido Reni (Italian, 1575-1642). A stunning Old Master 18th or possibly 17th century Italian Baroque School religious portrait painting...

Govaert Flinck School (1615-1660) 17th Century "Isaac and His Sons" Oil on canvas 116 x 140 cm Good condition Govert or Govaert Teuniszoon Flinck (Clev...

The embroidered appliques in fine silk and gold and silver threadwork with coloured glass, sequins and mirror simulating jewels in deep relief worked onto the original red velvet tex...

"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...

With a central pomegranate surrounded by a gadrooned border. The border with stamped decoration.

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

Grand, family crest, hand painted on linen and laid down on wood, commemorating the marriage of two families from Northern Italy.

This exquisite pair of 19th-century French paintings captures playful putti, or cherubic children, rendered in a Baroque-inspired style. These charming artworks, executed in delicate...

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...

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...

The framed engraving of "Aurore and Cephalus" depicts the kidnapping of Prince Cephalus by Aurore, who has fallen madly in love with him. This work was created by Annibale Carracci ...

SPANISH SCHOOL 17th Century "Still life". Oil on canvas Recovered. Dim.: 65.5 x 55.5 cm. good conditions

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...

Niche. Gilded and polychrome pine wood. Spain, 17th century. Niche made of carved and gilded pine wood, decorated with moldings, a venerated shape and plant elements in the upper p...

A spectacular flemish 17 century combined verdure and mythological handwoven wool tapestry in a simple palette of beige, green, brown and blue, framed with a complete floral border and its original protective burlap backing .Combining romanticism, classicism and baroque artistry, this tapestry is a quintessential example of this highly evolved art form that flourished in Dutch-influenced Flanders throughout the 17th century. The exact mythological event represented by the tapestry is unfortunately not known and I urge viewers and readers of this write up who may recognize the scene to please contact us with the information, for which we would be greatly appreciative. The scene depicted by the tapestry revolves around three life-size classically draped figures with the leading protagonist consisting of a plumed helmeted and uniformed high ranking Roman official in the foreground taking up the entire left hand side of the tapestry. The official is holding the hand of a young woman and is pointing in the direction of a partially visible masted galleon suggesting a departure or a sea faring...

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

FLEMISH SCHOOL OF THE 17TH Century "Virgin of the Milk" Oil on canvas 45x36.5cm. Gilt wood frame good conditions.

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.

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

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

A nice example of a Continental hand wrought tapestry decorated with putti or angels and cartouche, with foliate accents and subtle tan border with raised flowers. The tapestry has a...

Pair Baroque Style Erotic Prints of Compromised Monks & Nuns, Italy, 20th Century Prints,  This pair of vertical Italian Baroque-style erotic prints from the 20th century provides a...

Venus and cupid 19th century. French school. oil on canvas. Dimension: 66 x 51 cm. Good conditions.

This is a heavy large carved wood plaque depicting an embossed scene of the Resurrection of Jesus Christ. He is standing victorious and elevated over a U shaped cluster of clouds wit...

Exceptionally rare, Italian, 17th century, green and ivory, damask, linen, woven bedcover - Made as a luxury item in the mid-17th century, woven with a damask pattern characteristic...

This incredible hand crafted Italian (Venetian ) 17th- 18th century Wall Hanging /Valance originated from a gorgeous Palazzo in Venice with i...

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 ...

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 ...

Tapestries were ubiquitous in the castles and churches of the late medieval and Renaissance eras. At a practical level, they provided a form of insulation and decoration that could b...

Religious Oil on Canvas – European School, 18th Century Dimensions: 50 x 45 cm (frame), 34 x 29 cm (view): San Carlos Borromeo, Archbishop of Milan (1538-1584) A serene and contempl...

A Large and Impressive 19th Century Continental Oil on Canvas "An Allegory of Love" after the original work by Titian - Tiziano Vecellio (Italian 1488-1576), within an ornate gilt-wo...

Unknown Flemish artist, 17th-18th century, “Judith and Holofernes”, oil on canvas 20.47 x 19.68 inches (52 x 50 cm) (lined), not signed. The painting c...

This is the Good Shepherd With Lamb Painting. It depicts an oil painting in canvas of the Christ Child seated in a large rock holding with his right hand the shepherd stick and the l...

Russia / 19th century / Religious Icon / oak / Baroque / Antique Religious Russian Icon “The Suffering Mother God”, 19th Century in tempera on panel from the estate of a collector. ...

Italian School 17th century Portrait of Emperor Vespasian, bust; oil on canvas, 77.6 x 65.6 cm. Provenance: Private collection, U...

A very large antiqued reproduction oil painting after Antoine Watteau. Features an antiqued canvas. Frame: 75.5 cm (29.72 inches) x 66.5 cm (26.1...

Thomas VAN DER WILT (1659-1733) "Portrait of Noble Woman", oil on canvas 55cm x 46cm without frame 65cm x 56cm with frame very good conditions Thomas van der Wilt (1659–1733) was an...

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...

Original oil on canvas painting by the very talented French artist Charles Henri Franzini d’Issoncourt who won an award in Paris at the Universal Exposition in 1900 for his artwork. ...

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

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 stunning and large scale Italian 18th century Baroque period Giltwood wall decor panel. At the center of this very decorative panel is a protruding central medallion with carved fo...

A whimsical and finely detailed pair of Italian 19th century Baroque st. glazed patinated wood wall brackets. Each most decorative wall bracket is centered by a berried foliate botto...

Amazing pair of baroque cornucopias, with painted glass, s. XVIII, Spanish origin, Andalusian school (Córdoba) Outstanding pair of Cornucopias in carved wood and gilwood decorated w...

Beautiful Tuscan Ceramic Plate 17th Century with a deepened centre, painted with a biblical scene, landscape and architecture, glazed on the underside, described and marked. Diamete...

From the Emilia Romagna school of painting this is a depiction of a mother hen protecting her chicks, the period giltwood frame in perfect condition and retaining a paper label at to...

Peter Paul Rubens (Siegen 1577 - Antwerp 1640) circle of Saint Catherine of Alexandria Never Restored First Canvas Oil on canvas 129.5 x 94 cm The work is based on the painting by Peter Paul Rubens and engraved by Schelte von Bolswert. Rubens, known as "the Prince of the Baroque", was the great master who revolutionized both Flemish and European painting. His first training took place thanks to the masters Otto van Veen and Jan Brueghel the Elder. His trip to Italy, where he stayed, studied and painted for eight years, was fundamental to his artistic growth. His first stop was Venice, where Titian, Veronese and Tintoretto studied. He later came into contact with Vincenzo I Gonzaga, Duke of Mantua, becoming the court painter of the family, a position he held until the end of his stay in Italy. In Mantua, Rubens had the opportunity to study the rich ducal collection closely and assiduously. By making copies of several famous paintings he was able to practice technically on the examples of the greatest masters. In 1601 he was sent by the duke to Rome, where he was able to further broaden his figurative horizons thanks to the copying of the models of Michelangelo and Raphael and the study of the ancient, also looking at the contemporary artistic production of Carracci, Caravaggio and Federico Barocci. After leaving Italy, he settled in Antwerp, where he organized his atelier, applying the methods of organized production, that is, employing his collaborators with rational criteria and on the basis of individual specializations. Among the many painters who came out of Rubens' workshop or were strongly influenced by the master, we remember: Cornelis and Paul de Vos, Jacob Jordaens, Pieter Van Mol, Victor Wolvoet, Joanna Vergouwen, Jan Boeckhorst known as Lange Jan, Lucas Van Uden, Theodor Van Thulden, Peter Van Lint, Willem Van Harp, Vincent Adrianssen, Pieter Van Avont, Jan and Hendrick van Balen, Theodor Boeyemans or Boeijermans, Vincent Malò...

17th century Flemish oil on panel Monogrammist H. C. "Soldiers gambling for Christ's tunic" The fine painting depicts the biblical scene i...

A very large antiqued reproduction oil painting after Jean Antoine Watteau. Apty titled "Pilgrimage" features an antiqued canvas with unique craquelure and Baroque scallioped frame. ...

Our Lady of the Assumption Triptych Italian, 19th Century in ebonized wood with brass applications with an enamel plaque in the center representing t...

Rare 18th century Italian gaming board "Nobilissimo Giuoco Della Mea" Or "The Nobel Game of Chance" in original paint and decoupage, (lacca povera) depicting a game which appears to be a board version of "Put and Take" with different characters representing either plus or minus points. Four corners with scalloped carved coin wells, the centre slightly dished for either a top or ball to roll within. Characters include: Scimmia/Monkey - put 6, Re/King - take 1, Vople/Wolf take 3 , Pascia/Lord - take two and so on. Other characters include, Cinese/Chinese, Colombo/Pidgeon, Crepascolo/Twilight, Armigero/Knight?, Gezelia/Gazelle, Adone/Adonis, Gonhiere/Gondolier, Araba Fenice/Arab Phoenix?, Vecchio/Old Man, Leone/Lion. A very similar game board is in the collection of the Medici Villa...

Amazing ALLEGORICAL PANEL in walnut 17th Century Magnificent quality wood, inspired by a 1617 panel from the Louvre. Justitia represents justice, equity and order and Mars embodies ...

18th century French School, after I. de Moucheron, Landscape with a Fountain, canvas, monogrammed lower right «JBF», with restorations 67 x 55 CM - 26,4 x 21,7 IN. good condition