Madrid - Wall Decorations

Portrait of Queen Marie Leszczynska, Wife of Louis XV, oil on canvas, 18th century Oil on canvas depicting Marie Leszczynska, Queen of France and wife of Louis XV, dressed in a luxu...

Portrait of a Noble Lady, Spanish or Flemish School, oil on canvas, 17th century Oil on canvas depicting a high-ranking lady, dressed in rich jewels and lace typical of 17th-century...

Portrait of Isabella Farnese, Queen Consort of Spain, 18th Century Oil on oval canvas depicting Isabella Farnese (1692–1766), queen consort of Spain by her marriage to Philip V. The...

Rare Portrait of Elizabeth Petrovna of Russia (1709-1762) 18th Century Signature Signed by court painter Magnificent oil on canvas depicting Empress Elizabeth Petrovna (1709-1762),...

Portrait of Maria Theresa of Austria, Queen Consort of France, 17th Century Oil on canvas, European School, ca. 1660–1680, late 17th century Oil on canvas depicting Maria Theresa of...

Portrait of a German Princess with a Sash and Insignia of a Knightly Order European School, 18th Century " German Princess " Large-format oil on canvas depicting a German princess,...

Pair of reliefs, San Juan and San Mateo. Polychrome wood. Possibly, Burgos school, 16th century. Pair of carved and polychrome wood reliefs that each show a seated human figure wri...

Large circular wall-mounted convex mirror featuring a beautifully patinated and textured metal frame. Its distinctive convex shape offers a dynamic, panoramic reflection that enhance...

Italian school; second third of the 17th century. "The Healing of Tobias". Oil on canvas. Relined. very good condition Dimensions: 117.5 x 107 cm; 130 x 118 cm (frame). This canvas ...

Attribution to Francesco Solimena "Resurrection of Christ" 18th Century oil on canvas (129x77 cm.) framed good condition for the period Francesco Solimena, also called l'Abate C...

Moto GUZZI, possibly Grand Tourer GT16, 500 498cc, circa 1930. No documentation is preserved. Moto Guzzi (also known as Guzzi in Italy) is the name of a famous and legendary Italia...

Elevate your collection with this breathtaking oil painting, "Adoration of the Magi," skillfully rendered on a magnificent 51x40 cm Cotognino Alabaster panel. This extraordinary piec...

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

The Lady and the Unicorn. Tapestry. 20th century, following medieval models. Tapestry inspired by one of the series currently known as “The Lady and the Unicorn”, made up of six wor...

Cockatoo. Framed watercolour. 20th century. Watercolour showing a cockatoo (possibly sulphurous) perched on a stone bench and picking a cherry with ...

Venus and Mercury, relief. Molded alabaster. 20th century, Inspired by the model of SPRANGER, Bartholomäus (1546-1611). Panel with figurative relief and a fine frame around it made ...

Pair of panels, Dancers. Molded alabaster. 20th century, inspired by CANOVA, Antonio (1757-1822). Pair of reliefs with frames made of alabaster molded with polychrome, inspired by t...

Tapestry from the Royal Manufacture of Aubusson, Louis XVI period , made in 1738 at the Gobelins One panel from a series of Gobelins tapestries depicting the History of Esther, illustrating Esther seated and attended by handmaidens, one washing her feet in golden basin, another fastening a bracelet, another offering a mirror, all observed by Mordecai, woven in the workshop of Michele Audran after a design by J. F. de Troy. The Toilet of Esther c.1778-85.Royal Collection Trust-Queens Audience Chamber Windsor Castle The Sketches for the Esther Cycle by Jean-François de Troy (1736) “and the maid was fair and beautiful; whom Mor’decai, ..., took for his own daughter.” (Est. 2:7) A supple and undulating genius, both a flattering portraitist and a prolix history painter, as well as a brilliant genre painter, in a gallant or worldly vein, Jean-François de Troy (Paris, 1679 – Rome, 1752), solicited, although he had passed the threshold of old age, a new royal commission up to his ambitions. To obtain it, he submitted – successfully - for the approval of the Bâtiments du roi (administration), seven modelli painted in 1736 with his usual alacrity. Inspired by one of the most novelistic texts of the Old Testament, the Book of Esther, these sketches in a rapid and virtuoso manner were transformed by the artist, between 1737 and 1740 into large cartoons intended to serve as models for the weavers of the Gobelins factory. Showing undeniable ease and skill in the composition in perfect harmony with the sensitivities of the times, the tapestry set met with great success. The Story of Esther perfectly corresponded to the plan of the Bâtiments du roi to renew the repertoire of tapestry models used for the weavers of the royal factories while it also conformed to the tastes of Louis XV’s subjects for a fantastical Orient, the set for a dramatic tale in which splendour, love and death were combined. Indeed, no tapestry set was woven in France during the 18th century as often as that of Esther. The series of modelli painted by de Troy during the year 1736 looks to the history of French painting and decoration under Louis XV as much as it does the history of the Gobelins. It probably counts among the most important rococo pictorial groups to have remained in private hands. First the Biblical source illustrated by De Troy which constitutes the base of one of the richest iconographical traditions of Western art will be considered. Then the circumstances and specific character of French civilisation during the reigns of Louis XIV and Louis XV which contributed to making the theme of Esther a relevant subject, both attractive to contemporaries and remarkably in line with the sensitivities of the time will be elucidated. An examination of the exceptional series of sketches united here, the cartoons and the tapestries that they anticipate as well as a study of their reception will close this essay. The Book of Esther: A scriptural source at the source of rich iconography. The origin of the Esther tapestry set by Jean-François de Troy – origin and creation of a masterpiece According to the evidence of one of the artist’s early biographers, the chevalier de Valory, author of a posthumous elegy of the master, read at the Académie royale de peinture et de sculpture on 6 February 1762, it was apparently due to early16 rivalry with François Lemoyne (1688-1737), his younger colleague who had precisely just been appointed First Painter to the King in 1736, that had encouraged François de Troy to seek a commission allowing him to show off his ease and his promptitude at the expense of a rival who was notoriously laborious: “M. De Troy, retaining some resentment of the kind of disadvantage which he believed to have suffered compared with his emulator looked to regain some territory by making use of the facility his rival did not possess. Lemoyne was excessively long in the creation of his works,and M. De Troy of a rare celerity: consequently, with this particular talent, the latter offered to the court to make paintings appropriate to be executed at the Gobelins Factory; and it is to this circumstance that we owe the beautiful series of the Story of Esther, which would be sufficient alone to give him a great reputation.”17 Beyond the suspicion inspired by the topos, which still constitutes, more or less, a tale of rivalries between artists in ancient literature, there is probably some truth in what Valory reports although A.-J. Dezalier d’Argenville (who indicates rather spitefully that de Troy did not hesitate to “cut prices” to impose himself, benefitting from the productivity assured by the unlikely rapidity of his brush)18 proves to be more evasive: “As he looked to busy himself, he had offered to make the paintings that serve as models for the King’s tapestries cheaply: which did not please his colleagues. He was given a choice of two tapestry series to be made and he took the Story of Esther and that of Jason”.19 Whether or not the choice was actually left to de Troy (which would appear rather casual on the royal administration’s part all the same), it seems likely that the artist, whose contemporaries extol his “fire”, as the faculty of invention was then called, must have ardently aspired to the possibility of using on a very large scale the “creative genius” with which Dezallier d’Argenville credits him. The decoration of the private apartments, the fashion for which Louis XV had promoted at Versailles and Fontainebleau, offered little opportunity to excel in this area. Other than painting for altarpieces, only tapestries could allow comparison with Lemoyne who had been granted – unfortunately for him – a major decoration: the enormous ceiling of the Hercules Room at Versailles. Favoured by the recent improvement in France’s financial situation, the revival of patronage offered de Troy a commission fitting for him, in a field in which, however, he had hardly any experience. Anxious to renew the repertoire of models available to the Gobelins factory, the Duc d’Antin, surintendant des Bâtiments du roi from 1708 to 1736 followed by his successor, Philibert Orry comte de Vignory, gave him the task of producing seven large cartoons inspired by the Book of Esther corresponding to the brilliant sketches or modelli which de Troy had produced in one go, or almost (very few preparatory drawings can in fact be linked to the Esther cycle and all seem to be at the execution stage of the cartoons).20 Subjected to the approval of the Administration des Bâtiments according to the procedure in use for projects being planned for the Gobelins, sketches made rapidly during 1736 were approved and the project launched immediately. Thereupon came the news of François Lemoyne’s death, who, ground down by work and a victim of his private torment, committed suicide on 4 June 1737. Against all expectations, de Troy did not replace his rival in the position of First Painter (which remained vacant until the appointment of Charles Coypel in January 1747), which would perhaps have made him too obviously the beneficiary of the drama. The awarding of the position of Director of the French Academy in Rome came to console him while he had already produced (or he was in the process of finishing), in Paris, three of the seven cartoons of the cycle (The Fainting of Esther finished in 1737 and the Toilet and Coronation of Esther, both finished in 1738). De Troy, we can see, did not follow the order of the narrative but began with the subjects which apparently offered the least difficulty because he had already depicted them, or because they fall into a strong pictorial tradition (such is the case especially for the Fainting of Esther). He had hardly settled at the Palazzo Mancini in August 1738, when his first task which awaited the new director of the French Academy naturally consisted of honouring the royal commission and finishing without delay the final cartoons of the Story of Esther after the sketches he must have taken with him. As prompt as ever, de Troy discharged himself of the execution of the four remaining cartoons in only two years, by beginning with the largest format which allowed him to strike the imagination and to impose himself as soon as he arrived on the Roman stage: the Triumph of Mor’decai which was finished in 1739 (like Esther’s Banquet). The following year, the Mor’decai's Disdain and The Sentencing of Haman were brought to an end in the same Neo-Venetian style, obviously tributary to Veronese with its choice of “open” monumental architecture which is characteristic of the entire cycle.21 The series, it should be noted, was almost augmented with some additional scenes in the mid 1740s. Indeed, the first tapestry set finished at the Gobelins in 1744 proved to be unsuitable for the arrangement of the Dauphine’s apartments at Versailles for which it had been intended to decorate the walls the following year (cf infra). Informed of this, de Troy, considering that the story of Esther offered “several good subjects,” immediately offered to illustrate one or new subject among those “which could appear to be the most interesting”. The directeur des Bâtiments Orry, who managed the State’s accounts, obviously judged it less costly to have one of the tapestries widened to fill in the end of the Dauphine’s bedroom,22 which has probably deprived us of very original compositions, because de Troy had already illustrated the most famous themes, those that benefitted from a strongly established iconographical tradition and from which it was not easy to deviate The Tapestry Set of the Story of Esther Placed on the tapestry looms of the Gobelins at the end of the 1730s in Michel Audran’s workshop, the cycle created by de Troy aroused true infatuation. The few hundred tapestries made between 1738 and 1797 – all in high-warp tapestry and woven in wool and silk except for four in low-warp made in Neilson’s workshop – show the impressive success of a tapestry set that was without any doubt the most frequently woven of the 18th century in France. 29 Only three cartoons had been delivered by de Troy in 1738 when the first tapestry set was begun by Audran under the expert eye of Jean-Baptiste Oudry to whom the Directeur général des bâtiments, Philibert Orry had assigned the (weekly) supervision of the weaving. During the summer of 1738, the piece of the Fainting of Esther, which Oudry judged to be admirable, was finished. During the winter of 1742, Oudry informed Orry that about two ells of the Triumph of Mor’decai had been made “with no faults”,that the Coronation of Esther was finished and that the Esther at her Toilet “a very gracious tapestry” was “a little over half” finished. Exhibited at Versailles in 1743, these two last pieces were admired by Louis XV and the Court. On 3 December 1744, the set of seven tapestries was finally delivered to the Garde Meuble. It was intended, the honour was not slight, to decorate the apartments of the Infanta Maria Teresa Rafaela of Spain whose marriage to the young Dauphin Louis-Ferdinand had been fixed for the following year (it took place on 23 February 1745). Apparently it was thought that the theme of Esther the biblical heroine and wife of a foreign sovereign was appropriate for the apartments of the Spanish Dauphine. As early as the month of March, the architect Ange-Jacques Gabriel informed de Troy that her grand cabinet was decorated with the “Esther tapestry set” specifying however that “for lack of two small or one large piece, we have not been able to decorate the end of the room”. This difficulty led immediately to the Banquet episode being woven a second time in two parts (they were delivered to the Garde-Meuble on 30 December 1746) to garnish the panels on each side of the bed of the Dauphine who would hardly enjoy them (she died on 22 July 1746 and the decoration was installed for the new Dauphine Maria Josepha of Saxony). The appearance of the set’s remarkable border, which imitated a richly sculpted wooden frame, should be mentioned. Conceived in 1738 by the ornamentalist Pierre Josse-Perrot and used in the later weavings until 1768, it tended to reinforce the resolutely painterly appearance of the tapestry set which, in this regard, pushed the art of tapestry as far as its ultimate mimetic possibilities. With the exception of Mor’decai's Disdain which had been removed earlier, the “editio princeps” of the story of Esther (from then on in nine pieces) remained at Versailles until the Revolution. Of the eight surviving tapestries, four are at the chateau of Compiègne and four belong today to the Mobilier National. No less than seven tapestry sets reputed to be complete (one of them in fact only had six tapestries) would be produced officially at the Gobelins up to 1772. Literature: 1- The Œuvres mêlées of an emulator of Racine, the Abbé Augustin NADAL thus include an Esther. Divertissement spiritual which is exactly contemporary with Jean François de Troy’s cycle since it was performed in 1735 and published in Paris three years later. 2-Le Siècle de Louis XIV, 1751, 1785 ed., p. 96-97 for French ed. 3- Lemoyne and de Troy had been obliged to share the First Prize in the competition organised in 1727 between the most prominent history painters of the Académie Royale. 4- Mémoires…, pub. L. DUSSIEUX et al., 1854, II, p.265. 5-The fact that de Troy, at the risk of falling out with his colleagues, did not hesitate to make use of prices in order to convince the new directeur des Bâtiments Philibert Orry, is confirmed by Mariette who adds tersely “it caused much shouting” (pub. 1851-1860, II, p. 103). 6- Abrégé de la vie des plus fameux peintres…, ed. 1762, IV, p. 368-369 20 Early comments on the painter are inclined to present him as a kind of “pure painter”, doing without the medium of drawing, a few intermediary studies between the Esther sketches and the large cartoons at the Louvre nevertheless show that de Troy used red chalk (see in the catalogue, the notice for the Meal of Esther and Ahasuerus under the entry drawing) to change one or other figure. 7-C. GASTINEL-COURAL (cat. exp. PARIS, 1985, p. 9-13) as well as the article by J. VITTET, exh. cat. LA ROCHE-GUYON, 2001, p. 51-55. 8-The Hermitage in St. Petersburg conserves five tapestries of these two royal gifts whose provenance still awaits elucidation (as far as we are aware). In 1766, the Grand Marshal of Russia, Count Razumovski (or Razamowski), acquired the Fainting and the Banquet extracted from the sixth weaving (J. VITTET, 2001, p. 53). 9- Lettres écrites de Suisse, d’Italie…,quoted by J. VITTET, op. cit., p. 54. 10-The tapestry set remained in the hands of a branch of the Hapsburg-Lorraine family until 1933 (ibid. P. 54). 11-Quoted by Chr. LERIBAULT, 2002, p. 97, note 269. 12-Y. CANTAREL-BESSON, 1992, p. 241. Catalogue The Esther at her Toilet Oil on canvas, 57 x 51 cm Provenance: Painted in 1736 at the same time as the six other modelli of the Story of Esther intended to be presented, for approval, to the direction des Bâtiments du Roi; perhaps identifiable among a lot of sketches by Jean-François de Troy in the post mortem inventory of the amateur, historian and critic Claude-Henri Watelet (1718-1786) drawn up on 13 January 1786 and following days (A.N. T 978, n° 30) then in the sale of the property of the deceased, Paris, 12 June 1786, n° 33; Paris, François Marcille Collection (who owned a series of six sketches from which the Triumph of Mor’decai was missing, see infra); Paris, Marcille Sale, Hôtel Drouot, 12-13 January 1857, n° 36; Asnières, Mme de Chavanne de Palmassy ( ?) collection; Paris, Galerie Cailleux; Paris, Humbert de Wendel collection (acquired from the Galerie Cailleux in 1928); by inheritance in the same family; Paris, Sotheby’s, 23 June 2011, n° 61. In order not to add unnecessarily to the technical commentary on each work, the catalogue raisonné by Chr. Leribault which contains a substantial bibliography on the series should be referred to. The other bibliographical references only concern the publications and exhibitions to have appeared and been presented more recently. Bibliography and Exhibitions: Chr. LERIBAULT, 2002, n° P. 247 (repr.); E. LIMARDO DATURI, 2004, p. 28; Exh. cat. NANTES, 2011, p. 138, n° 34, referred to in note 1; Sotheby’s catalogue, Tableaux anciens et du XIXe siècle, 23 June 2011, n° 61 (repr.). Related Works: Tapestry cartoon: The cartoon (oil on canvas, 329 x 320 cm), the third made by the artist in Paris after the sketches had been approved by the direction des Bâtiments, is in the Louvre (Inv. 8315). It previously bore the painter’s signature and the date 1738 (inscriptions which are found on the tapestries). The royal administration paid 1600 livres for it on 21 June 1738 and it was exhibited at the Salon in the year of its creation. Summary Biography 1679 (27 January): Baptism in Paris (Parish of St. Nicolas du Chardonnet) of Jean-François de Troy, son of the painter François de Troy and Jeanne Cotelle, sister of the painter Jean II Cotelle. 1696-1698: Studies (apparently rather turbulent) at the Académie royale de peinture et de sculpture. 1698-1708: First trip to Italy. Is obliged to leave Rome in January 1711 after a tempestuous affair (a duel?), de Troy extends the traditional Roman experience as a pensionnaire at the Académie de France by also visiting Tuscany where he stays for a long time, Venice (his art in face has a strongly Venetian character) and Genoa. 1708: De Troy (whose father had been elected Director of the Académie royale de peinture et de sculpture on 7 July) is agréé and immediately received at the Académie with Apollo and Diana Piercing with their Arrows the Children of Niobe (Montpellier, Musée Fabre) on 28 July. 1710: First royal commission, paid for on 10 May (a sketch representing “the Promotion of the Order of the Holy Spirit” for the tapestry series of the History of the King). 1716: Jean-François de Troy is elected Assistant Professor at the Academy. 1720: He is appointed Professor. 1723: The artist creates the double portrait of Louis XV...

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...

Discover a unique and exceptional piece of religious art with this impressive gilded silver Orthodox cross, dated 1750. An object of devotion and sacred art that carries a rich histo...

Oil on canvas English school marine scene eighteenth century On the back part it has a label with a note in ink: coast of Scarborough-England E...

Ameyaltepec, Guerrero. Tempera on paper. Venancio, Eugenio. Mexico, 20th century. Naïve rural landscape titled in the lower right and signed in the lower left, with people, building...

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

Drawing Greek sculpture academy made in charcoal at the beginning of the 20th century, at the Spanish academy in Rome. Depicting a Greek sculpture.

Decorative oil on canvas depicting a Bacchanal scene from Classical Greece, finely executed in the 19th century. The composition captures the vitality and movement characteristic of ...

Portrait of Doña Narcisa Barañana de Goicoechea, MET Authorized Copy, oil, 1937 Magnificent copy authorized by the Metropolitan Museum of Art (New York) of Francisco de Goya's origi...

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...

Decorative pair of oil on canvas paintings depicting floral bouquets, signed by the artist J. Palomar and dated 1964, Seville. These mid-century works showcase a vibrant color palett...

Portrait of Françoise-Marie d'Orléans, Duchess of Orleans, 18th-century French school Oil on canvas depicting Françoise-Marie d'Orléans (1677–1749), the legitimized daughter of King...

A fine 19th-century miniature oil painting depicting a European gentleman in period attire, showcasing remarkable attention to detail. Medium: Oil on panel Frame: Original wooden fr...

GÓMEZ GIMENO, Antonio (Spain, late 19th - early 20th century). "Still life". Oil on canvas or tablex. Signed in the lower left corner. Measurements: 38 x 45.5 cm; 47 x 55.5 cm (fr...

18th Century Italian School "Sybile" H.s.t. bears a signature, oil on canvas 37cm x 30cm good condition

Important Portrait of the Princess of Ruspoli, began 18th Century, Italian School Began 18th-century oil on canvas depicting the Princess of Ruspoli, a member of one of the most in...

Knight. Oil on canvas. Dedicated, signed (F. Lloret.) and dated (1897) in the lower left corner. Against an indeterminate background, the knight's bust is positioned, his face slig...

Bas-relief in oak wood - Luis Marco Pérez (1896-1983) - 20th century

An important Egyptian sarcophagus mask from the Ptolemaic Period (711–332 B.C.), crafted with remarkable artistry and historical significance. Material: Made from stuccoed linen tex...

Large oil on canvas by Giovanni Battista Filosa. Romantic oil painting of the XIX century signed FILOSA. The quality and the chromatic gain much more live than in the photos. The fr...

Handcrafted in France, this modern sculptural concave mirror is a stunning wall hanging artwork made from pink molded glass adorned with colored lenses...

Professionally framed, this set of four early 20th century Spanish-made tiles ("azulejos" en Español) are hand-painted glazed ceramic, the graphic gold and white modernist inspired d...

Impressive 15th-century sculpture of Christ on the Cross, featuring a wooden crucifix and a polychrome Christ figure. The piece has been remarkably preserved, maintaining its origina...

Presenting a magnificent 19th-century Orthodox icon depicting Saint John Christening Jesus. This piece is painted in tempera on a wooden panel, exemplifying traditional religious art...

This large format wall-hanging sculpture is handmade from 100% raw agave cotton thread, featuring naturally dyed thread details in various shades. It offers a contemporary reinterpre...

Decorative pair of oil paintings on panel from the early 19th century, attributed to the French School. Each painting is presented in its original giltwood frame, finely carved and r...

Landscapes, Xalapa, Mexico. Pair of oils on canvas. Spanish school, around 1840. Provenance: Conde de la Cortina collection, Jalapa, Mexico. Couple of landscapes framed within the Spanish school of the first half of the 19th century, with a clear romantic affiliation. Both evidence the knowledge of the Dutch classicist landscape, one of the main influences on the Spanish romantic landscape. Thus, we see compositions in "V", closed on the sides and open in the center, very low horizons that allow a wide development of the sky, spaces built in depth based on successive planes subtly differentiated by light and color, and small figures perfectly integrated into the natural setting. In addition, the skies are scenographic and dramatic, with low clouds behind which the golden light characteristic of the classicist landscape filters. One of the most radical aspects of romantic painting was the attempt to replace large canvases with historical or religious themes with landscapes. They wanted the pure landscape, almost figureless or totally devoid of them, to achieve the heroic significance of history painting. They were based on the idea that human feeling and nature should be complementary, one reflected in the other. In other words, the landscape should arouse emotion and transmit ideas. Thus, landscapers like the author of these canvases tried to express their feelings through the landscape, instead of imitating it. The romantic landscape had two main aspects: the dramatic one, with turbulent and fantastic views, and the naturalistic one, which emphasized images of a peaceful and serene nature. This second conception is what we see embodied in these works; the painter tries to communicate a religious reverence for the landscape, nature in its fullness. In fact, the author's own use of light here conveys a foggy, cloudy, dreamlike atmosphere that invites the viewer to meditate and contemplate himself in the landscape. The romantic landscape is constituted, however, by manifestations of very different types and not comparable to each other; it does not affect all national schools equally, staying more faithful to tradition in schools such as the French or the Dutch. Thus, in this canvas we do not find the grandiose scenery of the British and Germans, the steep mountains or the monumental Gothic ruin...

"Saint Sebastian" by Carlo Saraceni 19th Century Italian School with Video Oil painting on canvas, Italian school, 19th century, depicting Saint Sebastian in the style of Carlo Sara...

Map of Moscow Engraved map of Moscow from 1805, published by the Frères Courtener bookstore. The Frenchman François Courtener arrived in Moscow in the 1770s and ran a bookstore and ...

Italian School 17th century "Christ in the Temple" Oil/canvas/double, 106 x 118 cm. good condition

Largest collection of Portuguese tiles in the world 17th Century Portuguese tile panel. Restored 56cm x 56cm 14cm x 14cm tiles 17th Century Shortly afterwards, these plain white ti...

Archangel with an arquebusier, Andean Viceregal School, 18th Century Oil on canvas depicting an archangel with an arquebusier, a characteristic figure of viceregal painting in the A...

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 ...

Italian Panel, Circle of Jacopo Palma the Younger, late 16th–early 17th century " Ecce Homo" (91 x 120 x 0 cm) Good condition The image is an artistic representation of the biblical ...

Title: Landscape. Date/Period: 19th century. Dimension: 28cm x 44cm without frame. Frame measures 12cm (plus). Materials: Oil on canvas. Additional information: Dutch School, 19th ce...

Large format wall-hanging sculpture handmade of 100% raw cotton thread that comes from agave plant. It has natural dyed thread details in blue shade. Its a ...

17th-century Mexican School - "Annunciation." Oil on canvas. 110 x 89 cm, framed 120 x 99 cm. Framed. This work comes from the city of Morelia, the monastery of the Capuchin Poor ...

Burlesque genre scene attributed to the Dutch painter Andries Both (active circa 1610–1650), one of the representatives of the Caravaggio school of Utrecht. The work depicts two pop...

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

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

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...

Set of 6 paintings attributed to the Cusco School, 18th–19th centuries Series of five small-format oil paintings on canvas, attributed to the Cusco School, 18th–19th centuries. They...

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...