Baroque Wall Decorations

Jews in the desert collecting the Manna. Oil on canvas, XVII century. Oil on canvas arranged horizontally in which a figurative theme is shown with a mountainous landscape in the ba...

A late 17th century Italian oil on canvas of a battle scene on a bridge by Francesco Graziani called Ciccio Napoletano (active in Naples late 17th/18th century). Measurements are ...

17th Century Italian wood image of Christ carrying his cross to calvary mounted on a hand-painted black panel and framed with a modern gold gilded hand-finished wood frame.  

St. Bartholomew's Martyrdom. Painting on vellum. After models from Ribera y Cucó, José (Játiva, Spain, 1591-Naples, Italy, 1652). The composition is organized around the diagonal t...

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 Her status as Princess of Brazil, inherent to 18th century Portuguese presumptive heirs, would however be superseded once the queen gave birth to two male princes, D. Pedro (1712-1714) and D. José (1714-1777), preventing her from ascending to the throne.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...

Jan Ten Compe ( 1713, Amsterdam – 1761, Amsterdam ) Flemish Painting oil on canvas 28cm x 35cm very good condition Jan Ten Compe (1713, Amsterdam – 1761, Amsterdam), was an 18th-century landscape painter from the Northern Netherlands. According to his biographer Jan van Gool, he was a follower of Jan van der Heyden and Gerrit Berckheyde...

An incredible and very rare 19th Century Meissen porcelain plaque depicting Rembrandt and Saskia in the Tavern. Meissen plaques are incredibly rar...

J'ai Deux Amour (“I have two loves”): the Auto-Thermos and Perco-thermos coffee makers! A spectacular, bright and daring stone lithograph from 1946 created by artist Paul Mohr. Featuring the iconic Josephine Baker, this vintage French advertisement...

A ram lowers its horns in a face off with a barking dog that rises on its haunches. An ox turns its head to watch the row. An annoyed ewe glances over its shoulder, but the two behin...

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...

An Enduring Masterpiece: Oil on CanvasMarina with Venice Lagoon, 1877 Bring the elegance and beauty of the Venice Lagoon into your home with this spectacular 1877 oil on canvas. Thi...

ITALIAN SCHOOL "Landscape" signed CORNICELLI1 9th Century Oil on canvas. Signed. Dim.: 39 x 49 cm good state

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

Italian Francesco or Pietro Graziani Neapolitan battle scene, 17th/18th Century This battle scene is attributable to one of the two Graziani ( Francesco or Pietro) battle scene pain...

- An amazing Baroque Period painting named "La Fille Grondé'' (Disobedient daughter) by the renowned painter Paul Emile Destouches (1794-1874). It depicts a family scene with the be...

Very beautiful 19th century Italian altar back in red silk velvet, probably Venetian Very elegant altar back adorned with metal-gold braid and metal...

Magnificent 17th-Century French Aubusson Tapestry – Alexander the Great and Bucephalus An exceptional and rare Aubusson tapestry from the 17th century, masterfully handwoven in wool ...

Temptations of San Antonio Abad. Oil on canvas. 17th century, following the model of David Teniers II (Antwerp, 1610-Brussels, 1690). Oil on canvas showing a figurative scene located inside a cave. To the right, you can see a cross standing, supported; to the left, a hut; and in the center of the painting appears an elderly, bearded man, leaning on a table on which there is a ceramic jug and a skull, with an open book at the foot of it. The man looks towards a woman, who points to something outside, and appears accompanied by a large frog and a series of ghostly beings or monsters dressed in brightly colored cloth and clothing. San Antonio Abad or Antonio Magno (251-356) was a Christian monk, considered the founder of the eremitical movement. He was tempted numerous times by the devil while he was in the desert, becoming a subject frequently represented in art (as can be seen in this oil painting). He is represented in a black habit because the Order of the Knights of the Hospital of San Antonio (Hospitals) was placed under his patronage, being the color of the habits of the members of this order (the tau or Egyptian cross was also the symbol chosen by they). David Teniers II or El Joven was a prominent Flemish painter and engraver, son of David Teniers El Viejo or I and father of David Teniers III, much appreciated at the time for his scenes of villagers and common people, his paintings of monkey painters, etc. . He dealt with the theme of the Temptations of Saint Anthony...

A Venetian opal glass plate from the early 18th century with stunning luminescent qualities. An epitome of Renaissance and Baroque Venetian cult...

Antonio Calza (Italy, Verona, 1653-18th April 1725) "Battle between Christian and Turkish cavalry with castle" The painting depicts a bloody battle between Christian and Turkish cavalry. Characterized by dynamism, intensity of color and light, the main scene occupies the lower horizontal section of the canvas, optically interrupted by the black fumes of the shots from which emerge, on the left, the towers of a fortress. On the right, in the distance you can see the combat in progress in the countryside, beyond which you can see the pale presence of hills that create a fifth, marking the horizon. To frame the scene contributes to the left, against light and in the foreground, a portion of the wall. The painter, however, introduces a horse on the ground, of which we see only the back, a ruse to involve the observer making him become active and participate in the scene. In the foreground, lifeless bodies, wounded horses and, scattered on the ground, weapons and a drum enhance the drama of the clash. The excitement and expressive force, the intense chromatic range attentive to the conditions of light and the fine brushstrokes, decisive and dramatic, suggests the attribution to Antonio Calza, one of the most important painters of battles of the seventeenth century, excellent student and continuator of the greatest interpreter of the genre, Jacques Courtois called il Borgognone (Saint-Hyppolite 1621 - Rome 1676). Il Borgognone, although not having had a real school or direct students, places itself as a primary reference point by the Italian and foreign "battaglisti". The genre of battle painting found great success in the collections of the Italian and European nobility of the seventeenth and eighteenth centuries. The battles of the Italian Renaissance, in which the scene converged towards a precise protagonist, evolve towards a type of combat "without hero". The bloody realism of the details and the dynamic development of the narrative confuse the figure of the protagonist, when present, to give importance to the swirl of horses and armed fighters, among which, moreover, does not emerge a winner. The certain documents relating to the life and movements of Antonio Calza are scarce; it was equally difficult to reconstruct, from the critics, a catalogue of autograph works. Through paintings in private collections, in museums and paintings passed on the antiques market it has been possible to identify a copious corpus of works that can be traced back to his hand. The work of art historians, together with that of antique dealers, in conferring proper attributions in order to best outline the figure of Calza, continues but studies are still in progress. In this sense, the work of Giancarlo Sestieri should certainly be noted, who investigated the artistic production of the battaglisti and Calza, thus allowing the comparison of the numerous photographic works reported, to identify and recognize the stylistic qualities that distinguish the corpus of paintings assigned to him today. Antonio Calza was born in 1653 in Italy, in Verona and in 1664 he entered the school of Carlo Cignani in Bologna, dedicating himself to painting battles and landscapes. He then perfected in Rome, where he knew the works of the then undisputed head of the sector, Jacques Courtois called the Burgundian. In 1675 he returned to Verona and married an 88-year-old widow who, dying, left him a rich inheritance. Much appreciated by the nobility and the bourgeoisie, he received numerous commissions. Bartolomeo Dal Pozzo (Le Vite de' pittori, de gli scultori et architetti veronesi, 1718) praises "three great paintings of battles...

A LARGE OIL ON CANVAS OF 'DON GASPAR DE GUZMAN COUNT-DUKE OF OLIVARES, MID-20TH CENTURY, originally painted by Diego Valazquez ( 1599-1660), Provenance: Painting has been used in the Three Musketeers film and was purchased from...

Landscape with classical ruins. Oil on canvas. Attributed to Giner, Vicente (ca. 1636-1681). Reengineered (reentelado in spanish). Landscape with rocks and buildings in the background that presents, in the foreground, constructions with a marked classicist air, accompanied by two female sculptures on two pedestals. At the foot of this building, there is a group of people, dressed in the classic way (women, children and a soldier with a spear). Vicente Giner, canon and artist from Castellón, is documented working in Rome during the last quarter of the seventeenth century (until he died here in 1681), where he requested, together with others, from Carlos II...

17th-Century English Portrait, Attributed to Sir Peter Lely A striking 17th-century English oil on canvas portrait, attributed to the renowned court painter Sir Peter Lely (1618–1680...

Soldiers looting a village XVII century oil on panel Oil on panel: 75 x 110 cm Signed and dated 1650 lower left Sold at Christie's Amsterdam, 11/18/93 For 130,000 DG = 60,827 € - joint purchase invoice for the year 93 About painter dutch painter Utrecht 1586 - 1666 Utrecht Painter of genre scenes, generally of peasants, views and landscapes of villages and towns (including some winter landscapes) and some religious and allegorical subjects (mainly at the beginning of his career). We do not know under whom our painter studied. Seeing the Flemish character of his work, some scholars believe that he could have studied in Flanders, in Antwerp. Droochsloot was a versatile and productive painter. The central museum in his hometown of Utrecht holds 15 of his paintings, showing the diversity of his work, many other museums exhibit his works Our painting represents a scene that took place during the Eighty Years' War. This Dutch War of Independence from Spain was a long, slow war that lasted from 1568 to 1648. The war began with a Protestant uprising in Flanders and Holland against the Spanish...

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

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 ...

Italian school according to Domenichino from the 18th century. "Martyrdom of St. Peter of Verona" oil on canvas (90x60.5cm) in frame 95cm x 65.5cm good condition

Auction. Carved and polychrome wood, 18th century. Finished in carved, polychrome and gilt wood decorated with a light relief based on "ce" scrolls lying together in pairs by one of ...

Oil painting battle scene of Adam Eugen (1817-1880). Oil on canvas. Military scene from the time of the Spanish War of Succession, signed and dated Eugen ...

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...

Important Pair of Italian School Paintings "Night and Day" 19th Century Inspired by the excavations of Pompeya Two oils on the carton. 35cm x 24cm A year ago it was clean underneath

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. ...

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

"Madonna With Sleeping Child, Follower Of Giovan Battista Salvi Il Sassoferrato (1609 - 1685)" Madonna with Sleeping Child Follower of Giovan Battista Salvi known as 'il Sassoferrato...

French achool 18th century "Battle". 46cm x 67cm. Oil on canvas. Good condition.

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

Pair of oil paintings on canvas – Follower of Zurbarán – 17th century An elegant pair of oil paintings depicting two religious figures, attributed to a follower of the Spanish master...

Saint Stephen. Oil on canvas. 17th century, following Aegidius Sadeler's engraving (inspired by Jacopo Palma). The figure of the Saint appears in the ...

Early 18th Century French Oil on Canvas Grisaille of Putti in a Hunting Scene. Gray-green tones, sculptural looking putti in a landscape with auct...

17th Century Italian Flemish oil on canvas painting depicting the Adoration of the Magi. Early Flemish painting was contemporary to the development of the early Renaissance in Italy. In the middle of the 15th century Italy...

Around Giambattista Pittone "Alms of a Saint" 18th Century oil on canvas (cm 52.5x38) 62.5cm x 48cm frame Rear label "G. Pittoni" in frame good condizioni Giovanni Battista Pi...

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

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...

"SAINT MATEUS" Italian School from the 18th century. Oil on canvas. Dim.: 54 x 38cm good condition

Flemish School of the 17th century "Portrait of a Child" Oil on canvas label on the back with coat of arms 77.5 x 63 cm without frame 85.5 x 71 cm with frame good condition

Italian School "Apostle" 17th Century Oil on oak wood Carved and gilded wooden frame. Small defects. Dim.: 44 x 58 cm good conditions

Francesco Lavagna (Italy, Naples 1684-1724) Pair of paintings depicting Still Life composition of flowers and watermelon and garden in the background The paintings, beautifully mad...

French School 19th century, half portrait of Dyonissus, oil/canvas, restored, relined, signed lower right, approx. 60 x 50cm, gold colored stucc...

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...

Oil on canvas portraying a dozing man, seated, leaning against a rock, his dog looking at the viewer in the foreground. In the background a group sitting at a table under an awning....

Antique French Tapestry Verdure Noblemen Royalty Verdure 5x9 158cm x 272cm 1920 A magnificent antique French tapestry depicting a scene of noblemen amongst incredible, exotic verdur...

Porcelain plaque painted with Mary Magdalene by K.P.M. German, circa 1900 Measures: Frame: Height 32.5cm, width 26.5cm, depth 3cm Plaque: Height 25.5cm, width 19cm, depth 0.5cm ...

1920 Antique French Tapestry Wool & Silk Village Scene Framed 3x4 "A magnificent antique wool & silk French tapestry depicting a village scene amongst verdure."-ARS Size 3'4" x 4'...

Our extraordinary 17th century tapestry from Brussels, in the manner of Jacques II Geubels (-1633), depicts Zeus and Hera being handed the world. 10 feet 8 inches by 13 feet 3 inches...

A finely carved partially Italian gilded corner bracket, silver leafed and painted with a dark green veined marble top bordered in gilded bronze. The rounded top supported by two carved palm frond...

Botanical hand-colored engraving after original oil on canvas by botanist Basilius Besler (German, 1561-1626), "Fructus Artischochi", pl. 25 from "Hortus Eystettensis...

An Italian pair of Baroque style silver plated, two-light wall sconces from the 19th century. These antique wall lights from Italy each feature sha...

Frans van de Casteele (Kasteels) called Francesco da Castello (Brussels, ca. 1541 - Rome, 1621) Adoration of the shepherds Crowning with thorns First decade of the 17th century. Tempera and gold on parchment, 290 x 240 mm (with frame). Original wooden frame with trimmed silver foil applications; in the corners, medallions with the four evangelists. The two refined miniatures of the Adoration of the Shepherds and the Crowning with Thorns are works of the artist's full maturity, dating from the first decade of the 17th century, characterized by formal simplification and pure colors in the invoice of the garments that stand out from the eburoral incarnations of the characters. Among the numerous motifs comparable to those of other miniatures by Francesco da Castello, the small medallions with the Evangelists barely outlined on a golden background, closely recall the miniatures, of reduced dimensions, inserted in the compartments of the frame of the altar with the Mysteries del Rosario, as well as those of another box with compartments with the Tree of Jesse...

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

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...