Baroque Wall Decorations

Original oil on canvas painting "nature morte" or literally "dead nature," this still life depicts multiple birds, fruit, flowers and more. Unsigned Condition: Some retouches. The ca...

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.  

Italian School, 17th century "The Vision of Saint Clare" Oil on canvas 56.5 x 47.5 cm Good condition

17th century Italian School "ECCE AGNUS DEI" oil on canvas Dec. 70 x 90 cm good condition.

This beautifully preserved Flemish tapestry depicts a charming bacchanale of children at play, a favorite theme in Brussels workshops at the end of the 17th century. Five putti anima...

An extraordinary rare 18th century portrait panel of what appears to be Christopher Columbus (or a classical philosopher) entirely made from various types and treatments of inlaid w...

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...

17th Century Flemish School Oil on Panel Painting. Painting depicts the head and shoulders of a bearded elderly man, presented in a carved and gilded period-style frame. The sitter i...

Tobias and the Angel , oil on canvas , Flanders, 17th Century. Circle of Theodoor van Loon. Theodoor van Loon (1581 or 1582, in Erkelenz – 1649, in Maastricht) was a Flemish Baroque...

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...

Ancient 17th century gilded wooden frieze, once used as a candlestick; now it bears a branch of madrepore cm.35 x 24. ref. O/2803.

A Fine Pair of Framed Porcelain Plaques Of Tavern Scenes By Jean-Pierre Feuillet The hand-painted, glazed & fired rectangular plaques of tavern scene, one depicting a friendly card ...

-Beauvais Tapestry, Designed after Jean Berain -18th Century -81 x 182 cm, 32 x 72 in -Provenance, from a private French collection This tapestry comes from the so-called “Grotesqu...

Baroque capriccio with architectural ruins and figures, an early 18th century Italian painting showing an imaginary landscape with Roman ruins and figures, an early Italian oil-on-ca...

Roman school of the 17th century Jesus among the Doctors 103X71 cm good conditions Jesus among the doctors is a fresco (200x185 cm) by Giotto, dating back to around 1303-1305 and pa...

George Etheridge oil on canvas. It is an oil on canvas by the artist: George Etheridge. There is a work of his on display at: Cyfarthfa Castle Museum & Art Gallery. Total measureme...

A lovely collection of old antique iron skeleton keys. Found at an estate sale in Nuremberg, Germany. A nice addition to your collection or...

Heads Of Winged Angels carved from larch wood and lacquered in tempera, ancient Italian friezes that date from the 19th century and are in good condition apart from a crack present a...

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...

European School oil on panel of the 18th century Measures: 34X24CM Good condition.

Light and elegant antique gilded frieze with leaves, to be placed wherever You want, even hung. ref. O/5989.

Fine 17th century Baroque period silk and metallic thread embroidery panel. Excellent vibrant colors of bold burgundy, pale cream and beautiful, elegant teal with a border of textur...

A 19th Century Meissen Porcelain Plaque of 'The Banishment of Ishmael and Hager', in its Original Frame. This fantastic Meissen porcelain plaque depicts...

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.

Roman School, early 19th century (Rome 1780-1842) Portrait of a young woman, probably dressed as a bride, in front of the temple at Paestum, possibly a posthumous portrait. Oil on pa...

Early 17th century French School "Virgin and Child " Oil on canvas (Original canvas, restorations, gaps) 71.5 x 60.3 cm Provenance Duc de Lesdiguières, according to an old label ...

Caspar Schwenckfeld, Reformation Portrait, 16thC German Engraving A rare and visually striking Reformation-era portrait with polemical inscription, reflecting the religious tensions...

A Fine Italian 19th Century Oil Painting on Canvas "La Madonna della Seggiola" after Raphael (Raffaello Sanzio da Urbino 1483-1520). The circular painted canvas depicting a seated Madonna holding an infant Jesus Christ next to a child Saint John the Baptist, all within a massive carved gilt wood and gesso frame, which is identical to the frame on Raphael's original artwork. This painting is a 19th Century copy of Raphael's Madonna della Seggiola painted in 1514 and currently exhibited and part of the permanent collection at the Palazzo Pitti, Galleria Palatina, Florence, Italy. The bodies of the Virgin, Christ, and the boy Baptist fill the whole picture. The tender, natural looking embrace of the Mother and Child, and the harmonious grouping of the figures in the round, have made this one of Raphael's most popular Madonnas. The isolated chair leg is reminiscent of papal furniture, which has led to the assumption that Leo X himself commissioned the painting. A retailer's label reads " Fred K/ Keer's Sons - Framers and Fine Art Dealers - 917 Broad St. Newark, N.J." - Another label from the gilder reads "Carlo Bartolini - Doratore e Verniciatori - Via Maggio 1924 - Firenze". Circa: 1890-1900. Subject: Religious painting Canvas diameter: 28 inches (71.1 cm) Frame height: 54 inches (137.2 cm) Frame width: 42 1/2 inches (108 cm) Frame depth: 5 1/2 inches (14 cm) Raffaello Sanzio da Urbino (Italian, March 28 or April 6, 1483 - April 6, 1520), known as Raphael, was an Italian painter and architect of the High Renaissance. His work is admired for its clarity of form, ease of composition, and visual achievement of the Neoplatonic ideal of human grandeur. Together with Michelangelo and Leonardo da Vinci, he forms the traditional trinity of great masters of that period. Raphael was enormously productive, running an unusually large workshop and, despite his death at 37, leaving a large body of work. Many of his works are found in the Vatican Palace, where the frescoed Raphael Rooms were the central, and the largest, work of his career. The best known work is The School of Athens in the Vatican Stanza della Segnatura. After his early years in Rome much of his work was executed by his workshop from his drawings, with considerable loss of quality. He was extremely influential in his lifetime, though outside Rome his work was mostly known from his collaborative printmaking. After his death, the influence of his great rival Michelangelo was more widespread until the 18th and 19th centuries, when Raphael's more serene and harmonious qualities were again regarded as the highest models. His career falls naturally into three phases and three styles, first described by Giorgio Vasari: his early years in Umbria, then a period of about four years (1504–1508) absorbing the artistic traditions of Florence, followed by his last hectic and triumphant twelve years in Rome, working for two Popes and their close associates. Raphael was born in the small but artistically significant central Italian city of Urbino in the Marche region, where his father Giovanni Santi was court painter to the Duke. The reputation of the court had been established by Federico III da Montefeltro, a highly successful condottiere who had been created Duke of Urbino by the Pope - Urbino formed part of the Papal States - and who died the year before Raphael was born. The emphasis of Federico's court was rather more literary than artistic, but Giovanni Santi was a poet of sorts as well as a painter, and had written a rhymed chronicle of the life of Federico, and both wrote the texts and produced the decor for masque-like court entertainments. His poem to Federico shows him as keen to show awareness of the most advanced North Italian painters, and Early Netherlandish artists as well. In the very small court of Urbino he was probably more integrated into the central circle of the ruling family than most court painters. Federico was succeeded by his son Guidobaldo da Montefeltro, who married Elisabetta Gonzaga, daughter of the ruler of Mantua, the most brilliant of the smaller Italian courts for both music and the visual arts. Under them, the court continued as a centre for literary culture. Growing up in the circle of this small court gave Raphael the excellent manners and social skills stressed by Vasari. Court life in Urbino at just after this period was to become set as the model of the virtues of the Italian humanist court through Baldassare Castiglione's depiction of it in his classic work The Book of the Courtier, published in 1528. Castiglione moved to Urbino in 1504, when Raphael was no longer based there but frequently visited, and they became good friends. He became close to other regular visitors to the court: Pietro Bibbiena and Pietro Bembo, both later cardinals, were already becoming well known as writers, and would be in Rome during Raphael's period there. Raphael mixed easily in the highest circles throughout his life, one of the factors that tended to give a misleading impression of effortlessness to his career. He did not receive a full humanistic education however; it is unclear how easily he read Latin. Early Life and Works His mother Màgia died in 1491 when Raphael was eight, followed on August 1, 1494 by his father, who had already remarried. Raphael was thus orphaned at eleven; his formal guardian became his only paternal uncle Bartolomeo, a priest, who subsequently engaged in litigation with his stepmother. He probably continued to live with his stepmother when not staying as an apprentice with a master. He had already shown talent, according to Vasari, who says that Raphael had been "a great help to his father". A self-portrait drawing from his teenage years shows his precocity. His father's workshop continued and, probably together with his stepmother, Raphael evidently played a part in managing it from a very early age. In Urbino, he came into contact with the works of Paolo Uccello, previously the court painter (d. 1475), and Luca Signorelli, who until 1498 was based in nearby Città di Castello. According to Vasari, his father placed him in the workshop of the Umbrian master Pietro Perugino as an apprentice "despite the tears of his mother". The evidence of an apprenticeship comes only from Vasari and another source, and has been disputed—eight was very early for an apprenticeship to begin. An alternative theory is that he received at least some training from Timoteo Viti, who acted as court painter in Urbino from 1495.Most modern historians agree that Raphael at least worked as an assistant to Perugino from around 1500; the influence of Perugino on Raphael's early work is very clear: "probably no other pupil of genius has ever absorbed so much of his master's teaching as Raphael did", according to Wölfflin. Vasari wrote that it was impossible to distinguish between their hands at this period, but many modern art historians claim to do better and detect his hand in specific areas of works by Perugino or his workshop. Apart from stylistic closeness, their techniques are very similar as well, for example having paint applied thickly, using an oil varnish medium, in shadows and darker garments, but very thinly on flesh areas. An excess of resin in the varnish often causes cracking of areas of paint in the works of both masters. The Perugino workshop was active in both Perugia and Florence, perhaps maintaining two permanent branches. Raphael is described as a "master", that is to say fully trained, in December 1500. His first documented work was the Baronci altarpiece for the church of Saint Nicholas of Tolentino in Città di Castello, a town halfway between Perugia and Urbino. Evangelista da Pian di Meleto, who had worked for his father, was also named in the commission. It was commissioned in 1500 and finished in 1501; now only some cut sections and a preparatory drawing remain. In the following years he painted works for other churches there, including the Mond Crucifixion (about 1503) and the Brera Wedding of the Virgin (1504), and for Perugia, such as the Oddi Altarpiece. He very probably also visited Florence in this period. These are large works, some in fresco, where Raphael confidently marshals his compositions in the somewhat static style of Perugino. He also painted many small and exquisite cabinet paintings in these years, probably mostly for the connoisseurs in the Urbino court, like the Three Graces and St. Michael, and he began to paint Madonnas and portraits. In 1502 he went to Siena at the invitation of another pupil of Perugino, Pinturicchio, "being a friend of Raphael and knowing him to be a draughtsman of the highest quality" to help with the cartoons, and very likely the designs, for a fresco series in the Piccolomini Library in Siena Cathedral. He was evidently already much in demand even at this early stage in his career. Influence of Florence Raphael led a "nomadic" life, working in various centres in Northern Italy, but spent a good deal of time in Florence, perhaps from about 1504. Although there is traditional reference to a "Florentine period...

Giacinti Brandi ( 1621-1691 ) " S. Giovannino " 17th Century Important Baroque painting attributable to the hand of the great Roman old master Giacinto Brandi. It depicts San Giovannino who, with an expression of rare beauty and intensity, turns his gaze toward us who observe this small masterpiece. Giacinto Brandi (1621 – 19 January 1691) was an Italian painter from the Baroque era, active mainly in Rome and Naples. Born in Rome,he was part of the studio of Alessandro Algardi, a noted sculptor who noted that Brandi was more suited to painting. He joined the studio of Giovanni Giacomo Sementi. He traveled to Naples from 1638, and by 1647 had returned to Rome to work under Giovanni Lanfranco, where Brandi befriended Mattia Preti. The two artists would later on, often collaborate. His works are well distributed among baroque Churches of Rome including San Carlo al Corso ceiling frescoes (1670–1671), San Silvestro in Capite, Sant'Andrea al Quirinale, a canvas of Sant'Andrea (1650) in Santa Maria in Via Lata a painting of Martyrdom of the Forty (1660) for the Chiesa delle Santissima Stimmate di San Francesco a Coronation of the Virgin (1680) which serves as main altarpiece for the church of Gesù e Maria, a canvas of the Drunkedness of Noah in the Galleria Corsini, an Assumption (1655) for Santa Maria in Organo in Verona a fresco from Ovid's Metamorphoses (1651–1653) for Palazzo Pamphilj in Piazza Navona, and a Martyrdom of San Biagio for the church of San Carlo ai Catinari a Visione del beato Giovanni di San Facondo (1656) and a Estasi della beata Rita da Cascia (1660) in the Basilica di Sant'Agostino in Campo Marzio San Rocco intercede per i malati di peste (1673) and San Rocco in gloria (1674) in the Chiesa di San Rocco all'Augusteo; Compianto sul Cristo morto (1675–76) in the Chiesa di Sant'Andrea al Quirinale. In 1647, he joined the Congregazione dei Virtuosi al Pantheon in Rome and from 1651 was inducted into the Accademia di San Luca for painters. In 1663, he frescoed the life of Saint Erasmus...

A handsome late 20th-century Italian faience wall plate in the Deruta tradition, hand painted in cobalt blue with a central Renaissance-style male portrait surrounded by a broad scro...

French School "Landscape with Figures". Oil on canvas from the 19th century. Recovered. Dimension: 59 x 82 cm. Good conditions.

Italian religious sculpture depicting Christ on the Cross, hand carved and lacquered in light ivory, dating from the late 18th century, lacking the arms and with missing at the fee...

Spanish gold and diamonds lace pendant from the 18th century, in gold with a hollow body with a pendant element, ornamented with ribbons and flowers, with honeycombs studded with dia...

17th century, The condemnation and martyrdom of the four crowned saints by Giuliano Dinarelli Mid-17th century, Italy, Bologna Oil on canvas, frame ...

A set of two Baroque paintings: - A Saint Paul of Tarsus Painting, also called Apostle Paul, Saul of Tarsus, Saint Paul the Apostle or Apostle of the Gentiles. The sword in Saint P...

Large wonderful gold-foiled glass dish with découpage technique. More scenographic than a picture... with a good price for closing activities. O/5446 -

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

Matthias Stom (Stomer) (c. 1600, probably in Amersfoort – after 1645, Italy) Esau Sells Jacob His Birthright for a Bowl of Lentil Stew The composition of this painting (probably pa...

This a print of the iconic The Blue Boy by Thomas Gainsborough from around 1770. It is believed to be a portrait of Jonathan Buttali, the son of wealthy ironmonger. This print come...

This oak frieze is a fine example of French craftsmanship from around 1900, blending Baroque exuberance with Rococo delicacy. The elongated form and central floral urn carving evoke ...

This antique Brussels tapestry from the 17th century portrays a charming pastoral narrative scene featuring a farmer leading two oxen through a countryside setting. Such rustic scene...

Late 18th-Century Dutch or Flemish Italianate Pastoral River Landscape with Shepherds Dutch or Flemish School Italianate Pastoral River Landscape with Shepherds and Livestock, Late ...

TITLE: Nicolas de Fer, Royal French Cartographer Portrait Engraving, 1743 DESCRIPTION: Original 18th-century engraved portrait of Nicolas de Fer (1646–1720), one of the most importa...

This large, old master still life painting is a perfectly balanced composition of fruit and game birds. In the foreground a rabbit is stretched out. A copper kettle and a basket are ...

TITLE Gerhard Coch, Peace of Westphalia & Hanseatic Diplomat Portrait, 1652 DESCRIPTION Original mid-17th-century portrait engraving of Gerhard Coch (1601–1660), German jurist, Br...

A Rare and Fine Quality Antique 19th Century KPM Painting on Porcelain Plaque after Gabriel Metsu’s ‘Lovers at Breakfast’ (Dated 1661), Metsu with his wife Isabella de Wolff in a Tav...

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

A stunning and finely detailed pair of Italian 17th century Baroque period Giltwood mirrored wall brackets. Each wall bracket is centered by an impressive richly carved bottom foliat...

Rare View of Olinda Pernambuco Brazil and Dutch Fleet, 1671 Original 17th-century copper engraving showing Olinda in Pernambuco, Brazil, with an extensive fleet of ships in the fore...

The black and white print was hand-crafted by the workshop of Jacques Renaud Bernard in 1760 circa in Paris, France. The wooden frame is a contemporary production. Jacques Renaud Be...

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 ...

An Incredible and Quite Rare 19th Century KPM Porcelain Plaque after Gerrit Dou (Student of Rembrandt, Titled "The Schoolmaster" c. 1671. The porcelain plaque is incredible with the...

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...

An antique French fine tapestry, circa 1880. A battle scene. About the Tapestry: Antique French Rural Idyllic Tapestry C. Detti This tapestry depicts a detailed fighting scene and d...

Wood sconce has decorated with carved acanthus leaves. The patina of time is superb, indeed the colors white, natural wood cracked gives a romantic and timeless tone to these Italian baroque sconce.

Very large oil on canvas (172.5 x 118.5 cm) depicting the naval Battle of Lepanto. Lepanto (modern-day Nafpaktos), located in Greece, is famous for being the site of the naval bat...

19th century pair of Putti oil paintings on wood, set of two walnut panels depicting woodland landscapes with cherubs playing of Italian origin. Thi...

A good, signed, antique Dutch delft wall plaque with shaped edge in lozenge form. It depicts an early canal scene with bridge (and town in the bac...

A Huge Oil on canvas (2.25 m x 1.50 m) depicting "Hercules' Choice," or "The Choice Between Virtue and Vice." An 18th-century copy of the painting by Paolo Veronese currently on d...

This is a gorgeous full color antique 17th century Flemish Verdure landscape tapestry depicting a beautiful and rich summer scene of a countryside with lush trees and vegetation, and...