Baroque Art

This fantastic Italian Baroque 17th century Old Master portrait oil painting is attributed to circle of Carlo Dolci. Painted circa 1685, the composition is a waist length portrait of...

Defeat of the Turkish Cavalry (1st State) From: The Life of Ferdinando de'Medici Engraving 224 x 300 mm.; 8 7/8 x 11 7/8 inches Reference: Lieure No. 154 Meaume No. 541 Ru...

A pretty baroque-style painting.

This drawing shows several studies of a donkey with a carriage. Its style is close to Flemish 17th century artists. On the passepartout one reads "Mathias Scheyer/ Jacob Weyer", both...

A rare and important Italian alabaster bust sculpture of Jesus Christ, C. 1860 A modeled bust of Holy Christ wearing a crown of thorns, exceptional...

Signed and dated lower left. Includes a beautiful later wooden frame cm. 137x8x182. Very Good conditions. Prov. Christie's London, February 15th 1974, n. 19. This artwork is shippe...

Pair of Antique Paintings With Cherubs After Francois Boucher (1703-1770) Boucher is known for his idyllic and voluptuous paintings on classical themes, decorative allegories, and pastoral scenes. Pair of charming late 18th or early 19th Century oil paintings with Putti playing with bow and arrow...

A 17th century English portrait of a lady by Sir Peter Lely (1618-1680), half-length in a painted feigned oval, wearing a green silk gown with chestnut coloured cloak over one shoulder, her fair hair curled in the fashionable ringlet style of the period. Oil on canvas in an English giltwood 'Lely' frame. We are grateful to Diana Dethloff and Catharine MacLeod (who are currently working on a Lely catalogue raisonné) for their confirmation of Lely as the artist from photograph analysis of this previously unidentified early work. Provenance: Private collection Nottingham until 2021 Mellors and Kirk sale December 2000, lot 1173 The sitter is likely to have been from an upper class or aristocratic family in court circles, who were the main source of Lely`s patronage. The simple composition serves to highlight the beauty of the sitter through portraying her pale decolletage and complexion, set against the gentle gaze of her blue eyes, the soft blush of her cheeks and her full red lips. Peter Lely (1618-1680) was originally of dutch origin and became Principle Painter to the King in 1661, following in the footsteps of Van Dyck who had died in 1641. He dominated the portrait painting scene in England for over 20 years, creating a distinctive 'court look' in his work which had a strong influence on many other artists. He had an extremely successful and popular portrait practice which meant that he soon had to develop production methods that could accommodate the high demand for portraits, and also for copies and versions of them which were given as gifts to family and courtiers. The use of studio assistants was a common practice for busy artists and as with Van Dyck, Lely is known to have used specialist assistants to execute particular parts of his paintings. Artists who worked in Lely`s studio included John Baptist Gaspars who specialised in drapery painting, William Wissing, John Greenhill...

Oil on copper after Raphael " the virgin of Lorette " Chantilly Museum . Ecole Hollandaise from around 1600 . No signature at this time La Vierge de Lorette (Madonna del Loreto) ap...

Portrait of a Levantine Merchant, 18th Century Italian school. Oil on canvas. Circle of Giuseppe Nogari (1699-1763) Dimensions with frame cm 71 x 5...

Floris van Schooten (1585/88-1656) Still Life Oil on canvas, 121 x 85 cm Provenance: Private Collection Floris van Schooten, a Dutch painter mainly active in Haarlem, is renowned ...

Angelo Basso (Italy, 1943 – 2011) Siren Signed and marked AP Foundry Mark FAA Beauty & Mythology Collection Sculpture 23″ inches tall (Base 5″ Siren 18″) Box size 20″ x 17″ x 27...

One of a kind pair of cherub high reliefs dating from the 18th century, probably belonging to the Castilian school. These are two rectangular high reliefs in carved, polychrome, an...

Como pueden apreciar, la obra no va firmada, es de autor anónimo Se presenta enmarcada la obra (el marco presenta algunos signos de uso) El estado de la obra se puede ver, presenta...

Judith Beheading Holoferne is an oil painting made by Giovanni Raffaele Badaracco, mid-17th Century. Oil on canvas, cm. 102x75.. Very good condition. Prov. Sotheby's, Amsterdam,...

Madonna, Mary Mother of God Italy, circa 1780 Linden wood, painted/gilded Dimensions: 80 x 32 x 24 cm Painting/gilding damaged in places Authenticity guaranteed in writing

Probably Dutch Flemish master, 17th century Ink on paper / on backing Inscribed on the upper and lower margins Size: approx. 23 x 40 cm, plus passe-partout Viewing and collection...

Oil on canvas "Cupid" circa 1900 after Anthony van Dyck ** Sold without the frame ** additional info: Title: cupid Style: baroque Medium: oil on canvas Signature: unsigned Provenan...

After Caravaggio "Die Falschspieler" [The Cardsharps] KPM Porcelain Plaque, impressed "K.P.M. / F" marks to reverse, giltwood frame. Image: 11.75" H x 16" W; frame: 20.5" H x 24.5" W...

This exquisite painting, resembling a precious jewel, serves as an exceptional illustration of the devotional cabinet paintings created by Giuseppe Maria Crespi, a highly original Bolognese artist during the late 17th and early 18th centuries. Crespi's distinctiveness extended beyond his unique style and technique to the subjects he chose to portray. While his portraits and genre paintings often displayed a light-hearted and even irreverent tone, his treatment of religious themes resonated with deep emotion, even in its most inventive forms. This recently uncovered work by Crespi is a typical representation, invoking the tender connection between mother and child, and the Child's destiny, all within a compact and intimate format. Executed on a small scale, the painting showcases Crespi's remarkable sensitivity and mastery of paint, especially evident in the expressive brushwork of the drapery. The restrained and focused composition of the Holy Family allows for contemplation of the figures. Mary cradles the Christ child gently, seemingly presenting him to the viewer, her gaze knowing as the infant holds a diminutive cross, symbolizing his future crucifixion. Joseph appears in the background, emerging from the left side of the frame, gazing upward with folded hands in prayer. Individual motifs from this painting reappear in other works by Crespi, suggesting a synthesis of familiar elements into a vibrant composition. The artist's revisitation of designs throughout his career is evident, and this painting on copper likely belongs to a later period, reflecting stylistic ties to other works and Crespi's increased production of smaller devotional pieces. Distinguished by its cool palette, bold coloration, and the expressive force of the artist's hand, this Holy Family painting...

Thames Bridges – Looking West John Duffin Limited Edition Etching Printed on White 300g Somerset Paper Edition of 150 Signed – John Duffin Image Size: H 38cm x W 25cm Sheet Size: H 56cm x W 38cm x D 0.1cm This work is sold unframed Free Shipping Please Note that in situ images are purely an indication of how a piece may look Thames Bridge – Looking West is a limited edition cityscape print on London by artist, John Duffin. Duffin’s acute attention to detail gives the work a bold aesthetic. John Duffin is a painter and printmaker whose work is based on the modern environments of cities and towns, creating dynamic, cinematic images of contemporary urban life. His unique images of architecture, lighting and figures have been greatly praised and awarded, recently receiving The Most Outstanding Print Award from Sir peter Blake, he has a distinctive artistic voice and has much to say in his work about contemporary life in all of it’s manifestations. His work is in the tradition of LS Lowry...

Oil on panel signed in the lower right corner and presented in a period frame measuring 21" x 18.5". Provenance: Private Collection Bradbury Art and Antiques, Wiscasset, ME Benj...

This is an exclusive limited edition color Giclée print, printed on matte photographic paper. This exquisite still life photo, shows a classy bouquet beautifully lit with soft light. The print measures 36 x 24 inches total, with an image size of 32 x 20 in. and a 2 inch surrounding white border. Details: + Title: Flowers with Caravaggio Light...

Jean-Michel Moreau (French, 1741-1814), Study for a Vignette, Oil on Canvas, circa 1775, for "Les A propos de La Folie" by Pierre Laujon, inscribed "Moreau - Esquisse ou Frontispice ...

Rembrandt van Rijn, After by Amand Durand, Dutch (1606 - 1669) - Vieillard au Bonnet Fendu (B265). Year: 1878 (of original 1640), Medium: Heliogravure, Size: 6 x 5.5 in. (15.24 x ...

The Flagellation of Christ Old Master Flemish School 17th century Medium: Oil on copper Dimensions: Image size 22 x 17 cm, frame size 39 x 31 cm

Artist: Martha Ochoa Medium: Oil on canvas Size: 32 x 40 in. unframed. This vibrant oil on canvas painting presents a lively and detailed nature scene, in Martha Ochoa's masterful C...

Michael Conrad Hirt (German, 1613-1671), Portrait of a Boy, Oil on Canvas, possibly dated 1647, signed and dated lower left, marked "Kal 103" to the verso, unframed. 26.25" H x 22.5"...

By Martha Ochoa Oil on Canvas Canvas Size: 59" x 39" Framed Size: 67" x 47.25" This lovely painting by Martha Ochoa is from the Cusco tradition. The Cusco School was an artistic tra...

"the Madonna Of Justice" Oil On Canvas Work From The Early 19th Italian School" the history: No doubt painted for the ducal palace of Genoa Genoa, ducal palace, Sala dei Sindacatori...

Marble head in the round depicting a putto, Roman Baroque, 17th century. In the Baroque, the putti became predominant decorative elements, depicted as nude and winged child figure...

Primo Tempo 5 is a 30cm x 30cm digital print on 50cm x 50cm cotton paper in a limited edition of 9 + 2 Artist Proofs. In this sepia-hued print by Rosa Basurto, an ancient tree with...

Frans Francken the Younger 1581 - Antwerp - 1642 Flemish Painter 'The Departure of the Israelites from Egypt – The Exodus', c. 1610 - 1620 Medium: pen in sepia on paper Dimensions: mage size 26 x 34,5 cm, frame size 55 x 65,5 cm Biography: Frans Francken the Younger, born in Antwerp in 1581 and passing away on May 6, 1642, also in Antwerp, was a distinguished Flemish painter. He is recognized as the most prominent and productive member of the renowned Francken family of artists. Francken explored a wide range of subjects, creating large altarpieces for churches and producing smaller works depicting historical, mythological, and allegorical scenes. Notably, his depictions of collectors’ cabinets established a popular new genre of art during his era. He was known for collaborating with other artists, enriching their works with his skilled renderings of figures and narrative elements, complementing specialists in landscape, architectural scenes, and floral still-life painting. Francken was born to Frans Francken the Elder and Elisabeth Mertens. His father was a pupil of Antwerp’s leading history painter, Frans Floris, and a significant creator of altarpieces in Flanders during his time. Francken received his artistic training under the guidance of his father. Additionally, it is possible that Frans and his brother, Hieronymus Francken II, received further instruction in the workshop of their uncle, Hieronymus Francken I, in Paris. A versatile artist, Francken made significant contributions to various genres within Flemish art, introducing new themes and subjects. Many of his works comprised small-scale historical, allegorical, and biblical cabinet paintings, often emphasizing figures. He is credited with either inventing or popularizing several novel themes that gained popularity in Flemish painting, including genre scenes featuring monkeys (also known as singeries) and Kunstkammer or gallery paintings, presenting a plethora of natural and artistic treasures against a neutral wall. Francken introduced various other unconventional themes that later gained traction, such as the ‘Triumphal Procession of Amphitrite’ and ‘Croesus and Solon.’ He also produced a series of paintings depicting witches and witchcraft, including portrayals of witches’ sabbats. His remarkable paintings are held in the collections of numerous major museums throughout Europe. Francken specialized in rendering the human figure, as evidenced by etched and engraved portraits of the artist by Anthony van Dyck (after Peter Paul Rubens), identifying him with the Latin inscription: ‘ANTVERIÆ PICTOR HVMANARVM FIGVRARVM’ (Figure painter of Antwerp). He was frequently invited to contribute figures to compositions by other esteemed artists, including landscape artists such as Tobias Verhaecht, Abraham Govaerts, and Joos de Momper...

An extraordinary 17th century, hand-carved, solid Carrara marble, life sized figure fragment on raised base of the same. The subject is swaddled in a luxurious, gathered robe and tun...

This Flemish Baroque art by David Teniers the Younger’s is a captivating masterpiece, “Tavern Gathering,” painted in 1646. Renowned as the preeminent Flemish genre painter of his tim...

18th-Century Still Life Painting – Classical Fruit Composition Artist: Unidentified Period: 18th Century Medium: Oil on Canvas Dimensions: Framed: 54 x 74 cm Artwork: 35 x 54 cm Sty...

Antique Flemish Baroque painting, 17th century, portrait, Medici. Oil on canvas. The painting is probably attributed to the Flemish painter Justus Sustermns. Pictured is most likel...

Oil on Canvas 32 x 24 inches Unframed A sumptuous, Baroque style still life featuring a blue vase of delicate white and pink and red flowers surrounded in fresh green foliage. Th...

The Poor Poet German School, early 20th century after the original painting by Carl Spitzweg (c.1839) inscribed verso oil on board, framed framed: 15.5 x 17.5 inches board: 12 x 15 i...

By Martha Ochoa Oil on Canvas Canvas Size: 59" x 39" Framed Size: 70.5" x 50.5" This lovely painting by Martha Ochoa is from the Cusco tradition. The Cusco School was an artistic tradition that first emerged in the 16th and 17th centuries in Cusco, Peru, blending indigenous and European baroque artistic styles. It is renowned for its catholic iconography, which often feature vibrant colors, elaborate ornamentation, and blended elements combining Catholic and native symbolism. This painting portrays the angel Zaamael playing a lute in ornate red, green, yellow, and pink clothing. About the Artist: Martha Ochoa, born in Cusco, Peru, studied at Santa Ana School, the Cusco School of Fine Arts, and San Antonio Abad University, focusing on design, architecture, and restoration. She is the granddaughter of renowned Peruvian artists Francisco Olazo, a founder of the Cusco School of Fine Arts, and Ernesto Olazo, a famous sculptor. Influenced by the Cusco School, she transformed religious themes into decorative renditions of Archangels and Madonnas with Peruvian colonial...

A pair of oval drawings for Ovid, Metamophoses Left: The Triumph of Amphitrite (Book I) Right: Diana and Actaeon (Book III) From: Ovid, Metamophoses These mythological studies are after paintings by Simon Vouet (1590-1649) that decorated the Chateau de Chilly. They were commissioned by the Marquis D'Effiat in 1630-31. The scholarly record documenting the commission are a series of engravings by Michel...

Spanish School, Portrait of a Woman, Oil on Canvas, 19th century, depicting a woman with wine cup and ewer, unsigned, giltwood frame. Image: 41" H x 33" W; frame: 50" H x 42.5" W.

Le misure senza la cornice in legno intagliata e dorata sono 97 x 72 cm. Il compianto su Cristo morto è uno dei temi più diffusi dell'arte cristiano cattolica, dove il corpo stesso ...

Circle of Maratta, Maria and Child, in a Roman 18th century hand carved and gilded wooden frame, uncut Images of the Virgin and Child were for centuries the most common subject for Christian religious...

By Martha Ochoa Oil on Canvas Canvas Size: 57.5" x 34.5" Framed Size: 65.5" x 42.75" This lovely painting by Martha Ochoa is from the Cusco tradition. The Cusco School was an artistic tradition that first emerged in the 16th and 17th centuries in Cusco, Peru, blending indigenous and European artistic styles. It is renowned for its catholic iconography, which often feature vibrant colors, elaborate ornamentation, and blended elements combining Catholic and native symbolism. This painting portrays the angel Ofaniel Dei playing a drum in ornate blue, red, and yellow clothing...

Johann Boeckhorst (Münster 1604 - Antwerp 1668) Saint Ursula Oil on canvas, 112 x 86 cm Provenance: New York, Christe's, 20.3.1981, lot 88 (as Van Diepenbeeck's circle) The presen...

Mocking of Christ, with all around in grisaille: the Crucifixion, the Resurrection, God the Father, Mankind after the Fall,; in the corners the four evangelists. J. Dijkstra ao, cat. The paintings of Museum Catharijneconvent, Utrecht (Museum Catharijneconvent) 2002, p. 196, pict., as Frans Francken...

In this striking photograph by artist Fidel Santos, an old stained glass window features the ethereal image of Mary Magdalene surrounded by clouds. Despite the dust and cracked panes...

Francois BOUCHER Peaceful Maternity : the Sleeping Baby Etching Unsigned On Vellum 38 x 50 cm (c. 15 x 20 in) Probably edited c. 1950 Excellent condition

"Oil On Canvas Self Portrait After Sir Anthony Van Dyck" Follower of Sir Anthony van Dyck (Flemish painter, 1599-1641), Self portrait Oil on canvas (doubled), Probably end 18th centu...

The Surrender of Breda, June 5, 1625, known as the Lances is an oil on canvas painted by the Spanish painter Diego Velázquez (1599, Seville - 1660, Madrid) during the years 1634-1635...

Woodcut after Peter Paul Rubens (Siegen 1577 - 1640 Antwerp) 337 x 451 mm.; 13 1/4 x 17 3/4 inches Provenance: The Metropolitan Museum of Art, New York, Duplicate stamp on verso...

Agent X Beauté du XVIIIe Siècle 3 Archival Pigment Inks on 310 gsm hahnemühle paper Year: 2022 Size: 34x26in Edition: 50 Signed, dated and numbered by ha...

After Michel Anguier French 1612-1686 Amphitrite Bronze This remarkable bronze masterpiece was cast after a High Baroque masterwork by French sculptor Michel Anguier. After traini...

The Infant Jupiter Nursing from the She-Goat Amaltheia (The Birth of Jupiter) Red chalk and wash on off-white paper, c. 1700 Unsigned Attribuuted to Quaini by Dwight Miller, the sch...

The photograph titled "Madonna di Pietraquaria" captures a poignant portrait of a centuries-old carved wooden statue of the Virgin Mary, deeply rooted in the traditions of Baroque an...

Flower Garland Surrounding the Virgin and Child, after Jan Brueghel the Elder (flowers), Circle of Frans Francken II (figures), Antwerp, circa 1615–1625, Oil on copper This finely e...

This monumental bust is a museum-quality example of Roman Baroque sculpture. Crafted by the legendary Domenico Guidi and carved from Carrara marble, the impressive portrait captures the visage of Pope Innocent XI, Benedetto Odescalchi (1611-1689). It presents a larger-than-life example of Guidi’s remarkable skill as a sculptor, which ultimately made his workshop one of the most important in Rome during his age. Today, his works are rarely found on the market, particularly his extraordinary works in marble. Pope Innocent XI was born Benedetto Odescalchi into an Italian noble family of prominent bankers. Spending his early years in banking, he eventually turned to the law, earning his doctorate in 1639. His background would serve him well in his service to the papacy, and he became known as a frugal and devout member of the Church. In 1676, he was unanimously elected Pop after the death of Clement X. During his nearly 13-year reign, he instilled his own personal ideals of austerity and frugality onto the Church, with a deep commitment to reform and piety. He is captured here by Guidi in his traditional Pope’s mozzetta and camauro cap. A wide stole is draped over his shoulders, ornamented by acanthus leaves and the coat of arms of the Odescalchi family. It displays Guidi’s mastery over the chiaroscuro effect, particularly in the high level of contrast in his cheeks and his eyes, which Guidi achieved through various methods of high polish. A very similar portrait sculpture of Pope Innocent XI by Guidi can be found in the collection of the Royal Castle in Warsaw. The Warsaw bust belongs to a series of portraits of popes which the Odescalchi family commissioned from Domenico Guidi in the 1690s. Compared to that example, the present bust is far more dramatic, with deeper cut lines and a more precise expression. It is likely that the present piece was seen by the Odescalchi family, who ordered a similar one to be made. The piece was almost certainly intended to be displayed in a niche, given its dramatic cutting and its roughly carved back. Others of Guidi’s busts can be found in important collections throughout Italy, England and the United States, though many of these are lesser bronze repetitions. A bronze bust of the Pope Alexander VIII by Guidi is currently in the collection of the Victoria & Albert Museum (London), while a terracotta version of the same is in the Los Angeles County Museum. A bronze of Pope Alexander VIII can be found in the Princely Collection of Lichtenstein, and his impressive marble papal bust of Clement IX graces the pope’s tomb in Santa Maria Maggiore. The present bust of Pope...

Decorated with a cartouche on which the family coat of arms was probably engraved, this interesting small bronze object is a "cheer mortar" (also called a "mascolo" or "mastio" of ch...

Flemish Fair (After Jan Brueghel The Elder) This is a very large and impressive version of the original painting Flemish Fair Cr. 1600. Beaut...