Baroque Paintings

August Querfurt (1696, Wolfenbüttel - 1761, Vienna) Farmers and villagers at the entrance of a village Oil on panel , cm 38,5 x 51. frame 66 x 53,5 x 4,5 cm The valuable painting, ...

The four 18th-century Neapolitan posthumously framed under-glass paintings depict biblical scenes from The Book of Jonah, specifically: 1. Jonah vomited by the Whale; 2. Elisha and t...

Adolf Constantin Baumgartner Stoiloff (Austrian/Russian, 1850-1924) a fine oil on board "Charging Cossack Warriors on Horseback" within an ornate giltwood frame, circa 1890 Born in 1850 in Linz (Austria) Stoiloff died in Vienna in 1924. According to a research of Russian literature, he studied in the 1880s at St. Petersburg Imperial Academy of Fine Arts. He was very well known for his Russian horse...

Virgin and Child, Cuzco School, oil on canvas, 18th century Magnificent oil on canvas from the Cuzco School (Viceroyalty of Peru), dated to the 18th century. It depicts the Virgin h...

19th century still life painting after Pieter Claesz (1597-1660) Dutch. This outstanding 19th century oil painting on copper shows an amazing intuitiv...

This six panel Italian screen is from the Baroque period, circa 1700. The four central panels have been affixed to a foldable frame, while the two outer panels are detached. When all...

This is an absolutely incredible early 17th century oil on canvas painting representing Holy Family-Virgin Mary, St.Joseph, St. Elisabeth, John the Baptist and Baby Jesus. Sir Peter ...

18th century Giacomo Guardi old master painting of Venetian Lagoon. Provenance. Old master painting in oil on canvas by the artist Giacomo Guardi (1764...

17th century Italian old master painting Madonna and Child with St. Anne and St. John the Baptist. Important Tuscan School Old Master painting in oil on a hand shaved wood panel. ...

This 18th-century Baroque painting presents a tender depiction of The Holy Family with an Angel. Rendered in oil on copper panel, a common technique of that period for its durability...

This antique stunning portrait of Madonna in Sorrow came out from a Palazzo in Florence and an absolute eye catcher. The colors and details are incredible and very typical for an Ita...

Italian Baroque religious panel painting. Style of Giovan Battista Langetti, depicting St. Jerome, the revered early Christian scholar best known for translating the Bible into Lati...

Copy of a portrait of "Emanuele Filiberto", Italian military leader of the 1500's

Antwerp School, 17th Century "Portrait of Archimedes" Oil on canvas, coated 97 x 79 cm, framed 116 x 99 cm good condition

A fine Italian 19th century oil painting on canvas "La Madonna della Seggiola" after Raphael (Raffaello Sanzio da Urbino 1483-1520) The circular 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 (all high quality gilt is original) 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, circa 1890-1900. Subject: Religious painting Measures: Canvas height: 29 1/4 inches (74.3 cm) Canvas width: 29 1/4 inches (74.3 cm) Painting diameter: 28 1/4 inches (71.8 cm) Frame height: 57 7/8 inches (147 cm) Frame width: 45 1/2 inches (115.6 cm) Frame depth: 5 1/8 inches (13 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...

The Archangel Raphael and Tobias, 17th-Century School Oil on canvas This 17th-century painting depicts one of the most renowned episodes from the Book of Tobit: the young Tobias, ac...

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,...

This is a classic Italian late 17th century floral still life. Although the painting is not signed, it has all of the hallmarks of being created by a master painter. The painting and...

A Baroque style oil painting from the first third of the 20th Century. This beautiful painting depicts a duck with plants, painted on a plywood panel in brown, green, and yellow ton...

This is a charming naive painting of a young John Davis, son of Gregory Davis of Norfolk, painted by Bridget Bereners (?). The exquisite quality of the framing is an indication of th...

Lot and his daughters, EMILIAN SCHOOL XVIIIth century Oil on canvas 175 x 126 cm Lot and his daughters is one of the themes most frequently encountered by seventeenth-century pain...

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...

Oil on canvas, lined, showing the interior of a cathedral, probably Antwerp, with various scenes taking place there. Wear and overpainting to be restored, but beautiful appearance. M...

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

Giovanni Paolo Castelli, known as "Lo Spadino" (Rome 1659 – around 1730) Still Life with a Composition of Fruit Dimensions: frame cm L 76.5 x H 61 x D 6.5. Canvas cm L 55.5 x H 40 Th...

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...

Great oil on canvas depicting Madonna and Child. Carved, gilded and polychrome wooden frame with floral arrangements. Venetian, 18th Century. Dimensions in centimeters: CANVAS 69cm H x 51cm / FRAME 107cm H x 80cm. In art, a Madonna is a representation of Mary, either alone or with her child Jesus. These images are central icons for both the Catholic and Orthodox churches. The word is from Italian ma donna 'my lady' (archaic). The Madonna and Child type is very prevalent in Christian iconography, divided into many traditional subtypes especially in Eastern Orthodox iconography, often known after the location of a notable icon of the type, such as the Theotokos of Vladimir...

17th century, Italian oil on canvas painting with battle between Christian and Turkish cavalry The oil on canvas painting depicts a battle between Christian and Turkish cavalry. C...

17th century, Italian painting with virgin and childr by Follower of Sir Anthony van Dyck cm W 90 x H 113; cornice cm W 111 x H 135 x D 7 The canvas depicts the Madonna with the Chi...

An exquisite circa 1720 English George I period "Kit-kat" style portrait firmly attributed to royal court painter Sir Godfrey Kneller (8 August 1646 – ...

La Pub in URSS dans les annees 20 Anikst, Mikhail Published by Editions du Chene, 1987 This work describes the extraordinary emulation aroused in Russian a...

In the style or School of the Important Old Master Guido Reni (Italian, 1575-1642). A stunning Old Master 18th or possibly 17th century Italian Baroque School religious portrait painting...

This 19th-century oil painting captures a vibrant Venetian landscape, depicting the iconic Venice Canal with boats drifting along the waterway. The bright colors and dynamic brushst...

Important Spanish School of the 17th century "Christ Carrying the Cross" Oil on canvas 73 x 60 cm with frame: 78cm x 65cm The work is inspired by ancient models, in particular by t...

18th century, Italian oil on canvas still life by Pietro Navarra Oil on canvas, canvas measures: cm H 103 x W 164, framed measures...

Italian painting from 1600 Banquet with Figures Memento Mori by Giovanni Martinelli, titled Death Comes to the Banquet Table, vanitas circa 1635. The oil-on-canvas painting is inspi...

Miguel Canals a Spanish painter from Barcelona who painted in the style of 17th century Spanish painters such as Tom'as Hiepes . In Spanish, the word Bodeg'on designates a pictorial ...

Julius Caesar Ibbetson 1759-1817 old master painting English, 18th century This English school painting by Julius Caesar Ibbetson (1759-1817) depicts a countryside farm house off of a road with a horse drawn wagon...

**Set of 3, 19th Century Allegorical Reverse Glass Paintings** This captivating set of **three 19th-century allegorical reverse glass paintings** presents richly detailed narratives imbued with symbolism and classical themes. Each painting is executed in the traditional reverse glass technique, providing a smooth and reflective surface that enhances the vibrant palette and fine detailing. 1. **Painting 1 (Left Panel):** This scene portrays a dramatic encounter, likely a moment of judgment or persuasion, set against a distant landscape. A figure in a flowing blue robe gestures emphatically toward a well-dressed couple, perhaps symbolizing conflict, intervention, or moral decision-making. The background includes a sweeping view of the countryside, with figures in the distance adding depth and context. 2. **Painting 2 (Center Panel):** The central panel features a pastoral scene steeped in allegorical significance. A central figure dressed in red, resembling a shepherd, commands attention under a radiant sunburst. Surrounding characters appear in moments of tension and repose, including a reclining figure and a soldier-like character. This composition evokes themes of guidance, struggle, and divine providence, with the bright sky and natural elements reinforcing the allegorical tone. 3. **Painting 3 (Right Panel):** The final panel depicts an intimate interior scene, with two seated women engaged in conversation, one gesturing emphatically as a standing male figure observes. The setting includes detailed furnishings, such as a writing desk, a red draped curtain, and objects hinting at scholarly or domestic pursuits. This tableau may represent themes of wisdom, counsel, or moral reflection, supported by the characters' thoughtful expressions and elaborate dress. Each painting is framed in its **original dark wooden frame**, complementing the vibrant colors and enhancing their display value. The set embodies the **19th-century European fascination with allegory and storytelling**, making it a significant piece for collectors of reverse glass art...

Oil on canvas, Vase of Flowers by Francesco Caldei, known as Francesco Mantovani, Mantua 1584-Venice 1674. This is a painting created around 1600 by Francesco Caldei, known as Franc...

A complementary pair of 19th century Italian paintings in the "chiaro scuro" style depicting pilgrims gazing intently with a certain degree of sentimental...

Pair of large paintings depicting pastoral scenes, Londonio school, second half of the 18th century Frame: W 157 x H 130 x D 9 cm; canvas: 139 x 110 cm This pair of large-scale pain...

18th to 19th century framed watercolor Coat of Arms of the Company of Merchant Taylors of the City of York. A guild of freemen since 1273, Charles II granted them a royal charter Apr...

Uncover a dramatic masterpiece with this Vintage Original Figurative Oil Painting on Canvas, a captivating work of art steeped in historical allure. This extraordinary piece presents...

Large mythological oil painting of the Triumph of Venus, circle of Nicolas Poussin, 19th century Impressive large-format oil on canvas depicting the triumph of Venus in a marine cort...

Immaculate Conception, large-format, Spanish School, oil on canvas, 19th century Splendid oil on canvas depicting the Immaculate Conception, large-format (121 × 87 cm), painted arou...

17th Century French School Portrait of an aristocratic lady as the Magdalene Oil on canvas, framed 57.75 x 48.5 cm. /22 ¾ by 19 ins The frame 79 by 71 cm. / 31 by 28 ins PROVENANCE:...

Magnificent French Floral Oil Painting from Paris Universal Exposition in 1900. This captivating 19th-century still life oil painting by the award-winning French artist Charles Henr...

Pair of Large Mythological Canvases: Bacchus and Diana, European School France ), 19th Century This set consists of two large-format oil paintings on canvas depicting Bacchus and Di...

A beautiful Italian Still Life oil painting on old canvas of an urn holding a bouquet of assorted flowers set on a ledge. 17th century....

Italy, 18th century. This magnificent 18th-century Italian planter is a captivating example of Rococo Baroque craftsmanship, featuring an elegant French blue painted background that...

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...

Extremly charming oil painting. Child portrait of the Swedish king Charles XI (1655-1697) from the late 17th Century in the circle of David Klöcker Ehrenstrahl (1628-1698). No frame....

Belgium / 1950 / Painting / canvas, wood / Antique / Baroque An exquisite oil painting in the style of the Belgian old masters with a luxurious gilded wooden frame. This work beau...

Thomas VAN DER WILT (1659-1733) "Portrait of Noble Woman", oil on canvas 55cm x 46cm without frame 65cm x 56cm with frame very good conditions Thomas van der Wilt (1659–1733) was an...

Belgium / 1940 / Painting / canvas, wood / Rococo / Baroque A Belgium oil painting signed Jos Pas, 1944 of a vase with orange flowers, grapes and a painting in the background. The ...

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

Circle of Alexis-Simon Belle (1674-1734) "Antique Portrait of a Young Girl" Oil on canvas. Dimensions: H: 70 × W: 57 cm Good condition Alexis Simon Belle was born in Paris. He was t...

19th C Limoges Enamel of Thomas Francis, Prince of Carignano after van Dyck A exquisite large Limoges enamel of the portrait of Thomas Francis, Prince of Carignano by Anthony van Dyck, 1634. In a finely carved giltwood frame. Unsigned. The original work was created in 1634 painting by Anthony van Dyck, Known as one of the finest equestrian portraits, It depicts Thomas Francis, Prince of Carignano on a horse, as an allegory of his holding the reins of command even in difficult times. The prince is wearing the insignia and red sash of the Supreme Order of the Most Holy Annunciation, conferred on him in 1616 by his father Charles Emmanuel I, Duke of Savoy...