Renaissance Wall Decorations

A Flemish Renaissance Biblical Tapestry 16th century In an open architectural setting, the central crowned and enthroned female figure flanked by three handmaidens, a fourth to the left urging a boy towards a kneeling woman on the right with an apple in her right hand, on the left a wooded landscape with a man walking in the distance, a man striking another over the head in the mid-ground, and a man, a woman, and a handmaiden approaching the scene in the foreground, on the right a man gesturing while others flee up a staircase and out of the scene, within a flower and fruit cluster surround punctuated along the top and bottom edges by balustrades and sphinxes, and along the sides by a figure, a mask, and a beaded and crowned man...

Incredibly rare Icon on Oak board dating to the 17th century and depicting Saint Matrona (Agia Matrona), this Icon was originally from Chios in Greece and was discovered in Vatopedi...

Attributed to Domenico di Paris, also called Domenico del Cavallo ( Monselice, documented in Ferrara between 1442 and 1501) Madonna and The Child Polychromed and gilded Stucco 47,5 ...

Exceptionally rare antique Cope Large and impressive Beautiful Silk Lampas skillfully hand woven in crimson / pink silk upon an opulent gold metallic gro...

16th Century Italian Tuscan Old Chestnut 2 Door Stipo with Losanghe. Interesting architectural element composed of 2 framed and trimmed doors of single slabs of very old chestnut. ...

Wonderful copper-plate engraving after Jan Luyken Published by Marten Schagen, Amsterdam. 1724 Text on verso The measurement given is the paper size.

Small 17th Century Antique German Biblical Tapestry Depicting David And Abigail, Country Of Origin: Germany, Circa Date: 17th Century. Size: 1 ft 8 in x 1 ft 8 in (0.51 m x 0.51 m)

Beautiful fragment of a tempera painting on a gold background, applied on a wooden panel, depicting Saint Thomas Aquinas. The saint is dressed in the Dominican habit, characterized b...

Wonderful copper-plate engraving after Jan Luyken Published by Marten Schagen, Amsterdam. 1724 Text on verso The measurement given is the paper size.

Wonderful copper-plate engraving after Jan Luyken Published by Marten Schagen, Amsterdam. 1724 Text on verso The measurement given is the paper size.

Wonderful copper-plate engraving after Jan Luyken Published by Marten Schagen, Amsterdam. 1724 Text on verso The measurement given is the paper size.

Wonderful copper-plate engraving after Jan Luyken Published by Marten Schagen, Amsterdam. 1724 Text on verso The measurement given is the paper size

Wonderful copper-plate engraving after Jan Luyken Published by Marten Schagen, Amsterdam. 1724 Text on verso The measurement given is the paper size.

Notable 18th century Flemish Tapestry Depicting the Biblical Account (Genesis 19) of Lots Flight from the destruction of Sodom and Gomorrah with Lot...

16th century, Flemish storied wood tapestry Flanders Brussels The beautiful and precious tapestry, of fine workmanship and made with wool yarns, was made in the 16th century in F...

Wonderful copper-plate engraving after Jan Luyken Published by Marten Schagen, Amsterdam. 1724 Text on verso The measurement given is the paper size.

Wonderful copper-plate engraving after Jan Luyken Published by Marten Schagen, Amsterdam. 1724 Text on verso The measurement given is the paper size.

Wonderful copper-plate engraving after Jan Luyken Published by Marten Schagen, Amsterdam. 1724 Text on verso The measurement given is the paper size.

The Martyrdom of Santa Barbara Wool and silk tapestry Bruges, 1530-50 270 x 198 cm Expertise by Professor Guy Delmarcel This Flemish tapestry is a remarkable example of 16th-century craftsmanship, distinguished by its exceptionally well-preserved color palette. The medaillon-shaped center stands out against a background of dark blue roses and acanthus leaves. It depicts the martyrdom of Saint Barbara, identified by the tower where she was imprisoned. According to legend, her father, Dioscorus, is about to behead her with a scimitar, while an angel descends from the heavens to strike him with lightning. At the bottom, beneath Saint Barbara, two fantastical creatures. On the left is a griffon depicted with the body of a lion and the head and wings of an eagle. On the right is a creature with the body of a leopard, the head of an elephant adorned in a fancy blue cloak. Both animals face each other standing either side of a green hill top in the middle of the tapestry. The lavish scene of the tapestry is framed by a border which is embellished with foliage, flowers and fantastical elephant heads in blue and white on a red background. The corners and center of the edges display goldsmith-objects. The vibrant brick-red colour and striking bluish-green leaves create a stunning visual impact, showcasing the outstanding state of conservation. Professor Guy Delmarcel connects this tapestry to a series of textiles produced in Bruges after 1530, characterized by their fantastical nature scenes populated with imaginative creatures. Most feature similar roses and acanthus-leaves as well as other vegetation, with wild animals appearing ready to attack. Two almost identical pieces preserved at the Art Institute of Chicago (Bruges, 336 x 599 cm) and the Rijksmuseum in Amsterdam ("Tournai," 285 x 490 cm) serve as prime examples. The entire surface is filled with greenery, along with birds and fantastic animals. This tapestry exemplifies the rich decorative style of the time, merging naturalistic and poetic elements with exotic animals that spark the imagination. Other works of this type follow the theme of the "Closed Garden." In the lower register, fantastical creatures occasionally appear, as seen in the exquisite Bruges Tapestry displayed at the Museum of Decorative Arts in Paris, and in the example from the Burrell Collection in Glasgow. The Parisian tapestry from Bruges features a mythical animal in the lower register, dressed in blue fabric, which closely resembles the animal in our tapestry. If Enghien or other centers produced similar pieces, several elements suggest a stronger connection to Bruges for two formal reasons: The overall colour-palette of our tapestry fabric characterized by pronounced brick-red colours and bluish-green leaves, aligns more closely with Bruges than with Tournai or Enghien. The intricate border design with the warm brick-red background, adorned with floral motifs, goldsmith-inspired elements such as incense burners and small bells, can be traced back to Bruges around 1530. This style, often associated with heraldic imagery, underscores the tapestry's connection to the city's rich artistic heritage. A comparable example is the tapestry featuring the Arms of Paolo Giovio, now part of the Prince of Liechtenstein's collection in Vaduz. This piece, set against a brick-red background, depicts arms and armors, cornucopias, boys riding grotesque dolphins, as well as various flowers and leaves. All available literature dates this group of tapestries to the second quarter of the sixteenth century. A key formal element further supports this dating: the executioner, depicted preparing to behead Barbara, wields a Turkish scimitar, a reference to the frequent Ottoman incursions into Central Europe beginning with the 1529 siege of Vienna...

Italian school 17th / 18th century: oil on framed panel, representing The Virgin and Child Jesus, accompanied by Saint Elizabeth and John the Baptist as a child, in the foreground A...

16th Century Antique Flemish Silk And Wool Biblical Scene Tapestry, Country Of Origin: Belgium, Circa Date: 16th Century. Size: 10 ft 8 in x 11 ft 3 in (3.25 m x 3.43 m)

A rare engraving titled “IN ADAM OMNES MORIUNTUR” (All die in Adam) by Johann Sadeler after a work by Maerten de Vos, depicting Adam taking the forbidden fruit from Eve. Signed and...

A very large and highly decorative glazed Terracotta Tondo / Wall Sculpture in the style of "Della Robbia". The glazed and brightly colorful, shiny s...

A very rare - finest quality - mid 16th century Italian Renaissance engraving (after Raphael) by an anonymous pupil of MARCANTONIO RAIMONDI (1480-...

16th century Italian ivory figure of Christ mounted against green felt fabric and framed in a coordinating cream frame. This piece was once originally pa...

This Flemish panel painting, dated circa 1620, masterfully depicts the Holy Family and young Saint John the Baptist. A Flemish School altarpiece work of art, a masterfully achieved ...

Fine Flemish tapestry from Brugge from the 17th century This fine tapestry depicting a mythological scene of a woman spied by two old men. Very inte...

Marvelous Antique Belgian Tapestry, Country of Origin / Rug Type: Belgium, Circa date: 16th century. Size: 8 ft x 9 ft 6 in (2.44 m ...

This impressive 16th-century oil painting on a slatted wooden panel depicts *The Holy Kinship of Mary*, a revered religious subject in Northern Renaissance art. The composition bring...

Tempera and gold background on panel. 28.2 x 24.7 cm. Cracks and reinforcements. 18th century Crete School. Greece Here is the iconographic image of the boy being rescued by St...

Frans Franken III and aid, Adoration of the Magi Good condition The oil painting on wood, with a gold background, depicts an Adoration of the Magi. The Magi are dressed in sumptuous silk and brocade dresses; they wear precious hats and jewelery. The richness of their garments is in contrast with the humility of the Holy Family and of the other characters who, around curious, observe the scene. The hut is simple, made of wood and straw: above it shines the Comet, symbol of the divine event. In the distance, a group of wayfarers walk along a path that is lost on the horizon, blending into the gold of the bottom. The representation proposes a traditional iconography, in which the painter inserts some details that he lends himself to symbolic interpretations. Among these is the appearance of the Magi, who from the XIVth century differs iconographically: the wise astronomers represent the homage to Jesus of the then known parts of the world, namely Africa, Asia and Europe. To the right of the Magi, in the foreground, sits a monkey, considered a demonic creature and a symbol of lies and sin. It is depicted on the sidelines, as a defeat, next to a fragment of a classical column: ruin alludes to the end of paganism, of the old world that collapses with the advent of the new one, marked by the birth of Christ and liberation from the Original Sin. On the ruins he climbs the ivy, symbol of the immortality of the soul. The work is attributable to the workshop of the Flemish painter Frans Francken III...

16th Century Antique Flemish Silk And Wool Tapestry, Country Of Origin: Belgium, Circa Date: 16th Century. Size: 10 ft 2 in x 10 ft 9 in (3.1 m x 3.28 m)

Sst of 20 Renaissance (17th century) engraved, hand-colored etchings for Johann Bayer's book 'Uranometria', a star atlas, in wooden frames with white mat....

Beautiful oil painting on wooden catwood panel. The painting has an almost Leonardesque background, characterized by a temple and distant mountains that recall the Holy Land. In the ...

Beautiful and very rare set of six engravings extracted from the work entitled “speculun romanae superbeiae” produced between 1554 and 1573 by An...

Manner of Titian (Tiziano Vecelli - Italian, 1485-1576) An Oil on Canvas "Sleeping Cupid" within a gilt and black decorated gesso frame. A label on reve...

The copper engraving plate is titled "The Peace, " which is attributed to Edouard Baldus, who signed the work. This plate was used to create eng...

Pair of decorative Renaissance oak wooden reliefs depicting two man with curly hair and a moustache. The reliefs were probably part of a piece of furniture or architectural element. ...

Attributed to the "Meister der Berliner Passion" from his Kleine Passion. It is now considered almost certain that the Meister der Berliner Passion was in fact Israhel van Meckenem ...

A beautiful pair of tapestry fragments, hand-woven in Flanders (now Belgium), circa 1580. At roughly 132 inches (11 feet) long, the fragments were, originally, vertical borders to a very large and brightly colored tapestry. The colors have maintained their vibrancy over the last 400+ years, with deep blue, brown, green, and red accents over a gold and cream background. Although the fragments do not have identical scenes, it is readily apparent that they originated from the same source. At the top of each fragment is a bearded warrior clad in golden armor with a flowing blue cape and green greaves. A shield rests on the ground, supported by the soldier’s left hand, while his right hand lifts a spear into the air. Towards the center of the textile is a pair of musicians, one strumming a lute, while the other plucks a lyre. At the bottom of each tapestry is a single female figure, well-dressed and sitting on a bench with one arm overhead. The remaining areas have been filled with fruit bouquets, architectural elements, and other figurative representations. A more recent navy blue border surrounds the scenes and the backs have been lined with a mauve colored linen. Our hand-woven tapestry borders...

Pair of small carved walnut doors, 16th century, central Italy This pair of small doors was made in the sixteenth century, in central Italy, in carved walnut. The decoration provides...

Wonderful copper-plate engraving after Jan Luyken Published by Marten Schagen, Amsterdam. 1724 Text on verso The measurement given is the paper size.

Dance of Death Broadside Todtentanz Einblattdruck Meyer, Conrad 1618-1689 Stirb, eh du sterbst, dass nicht verderbst [Der Todesengel zwischen Laste...

The Madonna and Child Oil Painting in a Rose Garden – Flemish (Ambrosius Benson School) Late 16th Century/ Early 17th Century Flemish Oil Painting on Oak Panel Artist & Background This exquisite Flemish Renaissance Madonna and Child oil painting, titled Madonna and Child in a Rose Garden, is attributed to a follower of Ambrosius Benson (circa late 16th - early 17th century). Benson, originally from Lombardy, Italy, became a renowned master painter in Bruges, Flanders, in the early 1500s.. Key Features of This Madonna and Child Painting: Period & Style – Late 16th-century Flemish School, influenced by Gerard David and Leonardo da Vinci. Medium – Oil on oak panel, a signature technique of Flemish masters. Composition – The Virgin Mary and Christ Child are set in a serene rose garden, symbolising purity and divine love. Influence – This artwork reflects both Netherlandish precision and Lombard artistic traditions. Provenance & Demand: Benson’s followers were widely sought after, and his compositions commanded high market value among collectors. Antique Hand-Carved Frame Old Master Madonna and Child Artwork This painting is housed in an original 17th-century hand-carved wooden frame featuring a classic egg-and-dart motif. Condition Report Conservation Status: Professionally cleaned. Historical Cracking: Some age-related panel cracks are common in antique oil paintings. Restoration: Minor retouching to the Madonna’s face, enhancing original details. Why Invest in Flemish Renaissance Art? Historical Significance – Works by Ambrosius Benson’s followers remain highly collectable in the art market. Museum-Quality Piece – Suitable for private collectors, investors, and art connoisseurs. European Heritage – A fine example of an Old Master religious painting...

Engraving depicting The Children of Charles I (1600-49), After the 1637 portrait by Sir Anthony Van Dyck (1599-1641). 18th century, English ...

-Madonna Lactans, Gold Background Quattrocento Our painting is on poplar wood, characteristic of Italian Quattrocento works. The gold background is stuccoed and engraved. Our Madonna Lactans is a variation on the theme of the Madonna and Child. In Christian iconography, this subject is depicted at a moment of great intimacy, as the Virgin Mary delicately takes Christ's foot. When cleaning the work, small jets of milk can be seen ... Sano di Pietro...

English Renaissance embroidery of a crest having a crown top mounted on a red velvet background in an ebonized wood frame.

Pair of reliefs; grutescos or candelieri. Carved, polychrome and golden wood. 16th century, and later Pair of reliefs made of hand carved wood, gilded ...

Set of 20 Renaissance (17th Century) engraved, hand-colored etchings for Johann Bayer's book 'Uranometria', a star atlas, in wooden frames with white mat....

An extraordinary azure maiolica dish in the Farnese service, made by Castelli d'Abuzzo between 1580 and 1589. In the peak of the High Renaissance, Cardinal Alessandro Farnese commissioned a dinner service from the Castelli maiolica...

This 17th-century French School drawing of a hand is a masterful work of art, presented in an elegant silver gilt frame. Measuring 20.75 inches by 20.75 inches, the drawing showcases...

This 17th-century Baroque painting, in oil on copper, captures a serene portrayal of the Immaculate Conception, draped in yellow silk robes with accents of green and red. The divine ...

A superbly carved, early 17th century decorative Renaissance walnut wall panel mounted within a carved oak frame, sourced from a private UK collectio...

This pair of engravings is made in the sanguine style, using red chalk. They represent the preparatory work for the Atlanteans of the Farnese Gallery in Rome, according to Carracci. ...

16th Century Spanish gold gilded and polychromed Carved-wood sculpture of Our Lady of Mount Carmel. She depicts the Blessed Virgin Mary in her...

Label on verso. From Grosser Atlas. The name Belgium comes from the ancient designation "Gallis Belgica". Figural decoration upper left. M. Seutter was a famed German mapmaker in the...

Elegant carved and gilded wood from the 17th century - Spain Very beautiful patina and in very good condition Can serve and served in the past as a base for a wooden sculpture.

map of the brabent of leuven (Belgium) circa 1640 by Bléau. Bléau was well known for antique atlas that he draw during the 17 century beautiful map, double page folded in the middle,...