Baroque Wall Decorations

This striking oval portrait, attributed to the circle of Nicolas de Largillière, exemplifies the refined elegance and artistic sophistication of late 17th to early 18th-century Frenc...

Antonio Alegri, (Correggio - 1494-1534) Our Lady with the Child Jesus oil on copper, Italian School 16th century With inscription on the back '1494-1534...

The Sorceress Armide with angels flanking a medallion, and in the lower part, two rams' heads flanking a medallion. Older prior restorations. Wear commensurate age and use. Certifica...

Master of the Neapolitan School of the 17th Century. Vision of Saint Francis Description The saint of the order, identified by his wounds, is depicted in a sleeping posture. Accord...

Antique Greek vase print on paper 19th Century France This is a beautiful baroque print of an antique Greek vase. Contemporary wooden black ...

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...

A late 19th Century French School still life in the style of Fantin-Latour. A well-executed Impressionist style oil on canvas depicting detailed objects of an opulent household: a ceramic basket weave bowl of apples, a lady's fan propping open a small book, next to a gold lournette on a pink beaded chain. In the background is a tall pewter candlestick...

Spectacular large scale mid-17th Century Flemish tapestry created after the 1630s design by Jacob Jordaens (d. 1678). Several tapestries of identical design were produced based on dr...

Early 17th century German oil painting on chamfered oak panel by Maller Michael Nagel signed in gilt on hem of cloak. The date 1602 is on the edge of the ...

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 ...

20th century still life of leather books, a brass candlestick and an inkwell with quill pen painted in an impressionistic style. Oil on canvas and signed in the lower right corner.

This beautiful maiolica pottery charger is from Montelupo, Italy and is boldly decorated with a soldier walking, carrying a tool of the day. Vividly painted in yellow, green, and blu...

Simon Vouet (1590–1649), "The Virgin with the Sleeping Child and the Young John the Baptist" (with the sash reading "Behold the Lamb of God"), oil on canvas, restored, height 82 cm,...

A six panelled screen of the late Baroque period Oil on canvas, depicting a panoramic view of a Capriccio north European landscape, perhaps Schlesweig-Holstein, with distant views of the sea, the ruined castles, peasants, and a lady of quality mounted, within a running arched canopy...

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

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 ...

Italian ebonized frame, tortoiseshell and engraved bone, 19th century. Measures: 52 x 41cm 39.5 x 29.5cm Very good conditions.

Exceptionally beautiful, polychromed figural baroque wall sculpture from the period around 1760 in Austria. By showing real craftsmanship, this fantastic looking, sacred wall sculptu...

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...

Part of the masterwork of Dutch theologian, explorer, and missionary Arnoldus Mantanus De Nieuwe en Onbekende Weereld from 1671, this theatrical scene of the Port of Lima displays a bustling Harbour full of masted ships. One of the richest cities of the New World, Lima became the capital of the largest colonial viceroyalty of the Spanish crown...

A remarkable and most unique Italian 18th century Baroque st. giltwood and oil on board picture frame/painting of the Louis Philippe family. The picture frame displays a beautiful pi...

Matteo Lovatti (Italian, 1861-1909) A Fine 19th-Century Oil on Canvas Titled 'Church V. State - The Fencing Lesson'. The finely detailed artwork depicting an interior tavern scene, f...

Baroque and Rococo Architecture and Decoration Book by Alastair Laing, Anthony Blunt, and Christopher Ernest Tadgell. A study of a period in art ...

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 ...

An exceptional and rare pair of carved and gilt hard wood angels. Each is about 2 feet high with incredible detail and presence. Original gilding with excellent original patina. Ital...

Workshop of Justus Sustermans (Antwerp, 1597 – Florence, 1681) Portrait of Ferdinand II de' Medici, Grand Duke of Tuscany Oil on canvas, 77 x 63 cm
 Inventory number on the reverse: ...

This unusual Baroque figure of Christ carved circa 1670 and 1700 is in a form associated with his removal from the cross after crucifixion but before his...

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

Germany / 1950 / Wall art / Alt Meissen / porcelain / Baroque / Rococo This exquisite mid-century porcelain wall plaque, produced in Germany in the 1950s by Alt Meissen, beautifull...

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...

Poster by Gianni Versace for the opening of the exhibition "Theater der Mode" in 1992. The poster was made for the exhibition dedicated to his theater collection in Munich, Germany, in Villa Stuck...

Jan van Kessel I and Jan van Balen, Still life with flowers, butterfly, trompe l'oeil frame and sacred scene, first half of the 17th century Signed I. V. Balen Oil on panel. Size: 68...

18th century French pair of oils on gold leaf panels. One is depicting an angel playing the violin, and the other one is holding the music book.

This is an absolutely stunning 18th century topographical painting, genre of which known as “veduta”. The crucial role in the development of that genre played Caspar van Wittel or Gaspar van Wittel -known in Italian as Gaspare Vanvitelli...

An Italian religious painting of the Lombard School depicting the Madonna and Child with the Young Saint John, circa 1650, featuring a well-balanced and harmonious composition. At it...

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

Johann Baptist Homann (1663–1724) “Prospect der Königl: Schwed: Haupt und Residenz-Stadt Stokholm” Hand-colored engraving, circa 1730 A finely detailed early 18th-century engraved v...

Flemish school 17th century "Our Lady with the Child Jesus, St. John, St. Elizabeth and Zacarias". Oil on canvas Relined. Dimensions: 74 x 84 cm good conditions.

Largest collection of Portuguese tiles in the world 17th Century Portuguese Tile Panel Restored 56cm x 56cm 14cm x 14cm tiles With certificate of authenticity and export issued by ...

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) ...

Oil on canvas depicting Saint Anthony in a garden being visited by Angelic Cherubs with a courtyard and fountain and mysterious figure in the background, the ever present Lily flower in the foreground. In a period ebonized wood frame. Anthony of Padua (Italian: Antonio di Padova) or Anthony of Lisbon (Portuguese: António/Antônio de Lisboa; born Fernando Martins de Bulhões; 15 August 1195 – 13 June 1231) was a Portuguese Catholic priest...

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 imposing religious-themed painting depicts the scene of the "Assumption of the Virgin". The iconography in this 19th-century painting follows the tendencies of Baroqueization and ...

This larger than life tapestry is simply breathtaking. The baroque scene is depicted in woven hues of vibrant blue and soft neutrals. Standing at the grand height of eight feet eleve...

18th century French carved-wood panel of a scene of with Cherubs farming. The piece is mounted on a Lucite panel and framed with a double walnut molding...

Crafted in southern Italy circa 1920, this large and colorful pair of antique heraldic wall plaques features elaborate Baroque-style decoration inspired by European aristocratic coat...

Antonio Zanchi (Este, 6 December 1631 – Venice, 12 April 1722) St. Jerome Penitent Dimensions: canvas W 73 × H 92 cm; frame W 96 × H 115 × D 6 cm The painting depicts St. Jerome as ...

A very decorative pair of Italian 18th century Baroque st. Giltwood wall decor. Each pierced wall decor has a central double acanthus leaf with two 'C' and 'S' scrolled foliate branc...

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

A pair of original Baroque oil paintings depicting two episodes from the Infancy of Christ: the Adoration of the Magi and the Flight into Egypt. Both works are executed in oil on can...

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...

A magnificent Baroque oil on canvas depicting the bust of a saint framed by a lush floral garland. The figure, with a radiant golden halo and a richly outlined dark habit, is present...

Make a dramatic statement with this impressive antique wall bracket console from Italy. Crafted circa 1760, the substantial piece is richly hand carved in the Baroque manner, featuri...

French Baroque style hand painted multicolored print of six figures of varying patterns for marble tiles in a silver frame (Matching prints available NWL6148A-F) Good condition cons...

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 ...

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...

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 ...

This very fine drawing from the early Baroque period is in Sanguine on laid paper. this Italian drawing in a rich brown-red is framed in a fine old gilded frame...

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

A Large and Impressive Early 20th Century Oil on Canvas "Madonna and Child" After Bartolomé Esteban Murillo (Spanish, 1618-1682) depicting a seated Virgin Mary with a baby Jesus Chri...