Baroque Wall Decorations

Charming still life old Italian painting with beautiful details, in a vintage Italian carved wooden frame Interesting for a study room . If You don't want the frame for the paintin...

Large Italian Baroque Style Painted And Gilt Wall Bracket. This stunning Italian Baroque style carved wood has a beautiful painted and parcel gilt finish and a large top surface area...

A Large and Impressive 19th Century Continental Oil on Canvas "An Allegory of Love" after the original work by Titian - Tiziano Vecellio (Italian 1488-1576), within an ornate gilt-wo...

Intimate oil on wood Portrait of Saint Joseph and the Christ Child This oil painting offers a unique glimpse into the Holy Family through the tender bond between Saint Joseph and th...

French Baroque tapestry fragment depicting a scene from Greek mythology, Poseidon and Amphitrite, circa 1690. Attributed to Isaac Moillon, Pari...

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...

Italian Salvator Rosa last 17th century giltwood frame. Internal measurements cm 20 x 30 Pure example of Italian Salvator Rosa gild wood frame of 17th century. "Salvator Rosa" is th...

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

France / 19th century / Painting / canvas and wood / Antique / Baroque A refined 19th-century French Baroque painting executed on canvas and presented in a richly molded wooden fr...

17th Century large baroque painting of the passing and last communion of Saint Jerome. Representation of the dying holy man, attended by angels and surrounded by his disciples while ...

This 18th-century Baroque oil painting by Thomas Höchsmann, dated 1783, vividly portrays a stone trader in a moment of candid activity. The artwork exemplifies the Baroque style with...

Extremely rare and unique beautifully designed artistic display of Louis XVI period velvet gold embroidery pants. This unique item has been framed and displayed on the antique velvet...

Circle of JUSEPE DE RIBERA (1588/91-1652) "Saint Peter, 17th Century" Spanish School of Saint Peter, 17th Century. Oil on canvas. Minor imperfections and restorations, relined. Dimen...

18th Century Portuguese Corbel in carved chestnut wood, decorated with plant elements and an angel. Period defects Height: 56 cm. good condition

A stunning Portrait of King Henri IV of France, father of King Louis XIII in the fantastic impressive hand carved gold gilded French baroque frame...

France / 1900 / sculpted frieze / oak / Antique / Baroque / Rococo A beautiful baroque style frieze or wall ornament in oak. Hand carved in France around 1900. A very decorative p...

France / 19th century / 2 decorative panels / metal plate with wooden frame / Baroque / Antique An exquisite pair of 19th-century French decorative panels, showcasing ornate eleganc...

Northern Italian School, 17th century "Coronation of the Virgin" oil on canvas, 160X108.5cm no cornice good condition

Francesco Aviani (Italy - Venice, 25-11-1662 / 1715) att. Couple of paintings depicting Capricci Oil on canvas, 135 x 183 cm, without frame The two large and fine paintings depict two illusionistic architectural renderings, with views of colonnades and arched buildings, animated by figures. The compositions are characterized by the harmony with which the painter introduces the sumptuous architectural monuments, the mirrors of water, the buildings in the distance and the views of the landscape. Dominates with a color on the tones of brown and ochre that stands out on the blue sky, marked by some cloud of steam. The insertion of the figures to enliven the architectural views also balances with the set. The Capriccio, an artistic genre that has made its way into Italian painting since the 17th Century, is characterized by the representation of fantastic architectures or prospective inventions, sometimes combined with elements drawn freely from reality. The two paintings are an example of this type and they are a very interesting and Fine artwork. The remarkable pictorial quality emerges both from the composition of the ensemble and from the way in which the artist describes the views with great attention to detail, highlights and refined, perfectly realistic, chiaroscuro. The same must be recognized for the figures: these are described with a wise brushstroke, quick and quick touches give the dynamism of the moment that is captured, as if time had stopped to show and narrate what is happening. The painting on the right represents a large Baroque building in stone and paved with marbles, two floors, with moving façade, large columns with corinthian columns, a large portal with a staircase with large footsteps, a balustrade with string, from which some figures appear, and two equestrian monuments in bronze. The sumptuous building overlooks a large POOL of water, with a gushing fountain, around which some characters sit. In the second floor is described a white palace from which rises a tower crowned by a structure with wrought iron loggia. In addition there is a bridge and some architectural ruins behind which some mountainous reliefs fade towards the horizon. On the staircase is described a particular scene. The people seem to be part of a very precise story. A woman, in the shadow of a parasol supported by a servant, would seem to drive out of the palace a man, who, taken under his arm by two maidens with a determined attitude, is led to a boat. The scene could be identified with the biblical episode of the parable of the prodigal son (Luke 15,11-32), at the moment when the prodigal son is robbed and driven away by the harlots. The episode tells of a man with two children. The youngest said to his father: “Father, give me the part of my inheritance”. And the father divided the substances. After not many days, the youngest son, collected his things, left for a far country and there he lost his substances with prostitutes and living as a debaucher. When he had spent everything, there came a great famine in that country and he began to find himself in need. Reduced to hunger, he was forced to be a pig herder to survive. He therefore meditated in his heart to go to his father and ask for his forgiveness and to be welcomed anew, even as a servant. While still on the road, however, the father saw him and ran towards him, receiving him with open arms. He then ordered his servants to prepare a great feast for the occasion, killing for the purpose the "fatty calf". The firstborn did not understand why his brother was given such treatment, and reminded the parent that he, who had always obeyed him, had never received a single kid to celebrate with his friends. The father answered him: «Son, you are always with me and everything that is mine is yours; but it was necessary to celebrate and rejoice, because this brother of yours was dead and came back to life, was lost and was found». The parable of the prodigal son was often portrayed in painting and the scene he finds most is certainly that of returning home in his father’s arms. Among the many is a canvas by the famous painter Giovanni Paolo Pannini (or Panini) (Italy – Piacenza, 1691– Rome, 1765) kept at the Hallsborough Gallery in London. Rather rare, however, is the scene of the prodigal son driven and robbed by harlots. There is an engraving by Hans Collaert II (1561-1620) in which this moment is described in the background compared to the moment, narratively later, in which he is penitent among the pigs. The second painting, certainly pendant of the first, represents a similar palace, with some characters overlooking the balustrade marcapiano and other figures around the large bathtub quadrilobata. In the foreground is described a monument with two large stone sculptures. In the distance some architectural elements and, beyond, the mountains are lost on the horizon. The studies related to the numerous painters of architectural views and caprices, active in Italy, and the archival documents found, which could better clarify commissions, biographies and certain works, are scarce and sporadic. Therefore there are still many difficulties in reconstructing a catalogue of autograph works for each author. Through paintings in private collections, in museums and paintings passed on the antique market it is however possible to advance some attributions in order to better delineate the various artistic figures. The style of the works studied here leads to a dating that runs between the 17th and 18th Centuries, with obvious influences dictated by the perspectives of the brothers Galli Bibiena. The analysis of the architectures and the chromatic palette suggests that we are in the presence of a northern Italian and Venetian author. Observing the decorations and the volutes, the brightness and the perspective disposition in fact, we find several analogies with those used by the Vicenza painter Francesco Aviani, excellent in pictorial perspective and architectural views. The biographical profile of Francesco Aviani (Italy - Vicenza, 1662-1715) was essentially traced in 1956 by Andreina Ballarin, then re-visited by Federica Spadotto in 2014 and Giancarlo Sestieri in 2015. Certain documents about his life are scarce, as are the documented works. He was born in Venice, probably on 25 November 1662, to Bernardo and a Magdalene whose surname is unknown, and was baptized on 3 December 1662. Between 1701 and 1703 he worked, together with his brother MarCo, sculptor, for the fresco decoration (now illegible) of the church villa in Soella (Vicenza). On October 16, 1703 he married Isabella Carcano. On March 26, 1715 he made a will and died on April 3 of the same year, in Vicenza. The frescoes in the refectory of the sanctuary of Monte Berico in Vicenza are considered authentic works by Aviani, probably made in 1708; the paintings preserved in the Civic Museum of Vicenza: “Landscape with Lazzaro and the rich Epulone”; “Christ among the doctors”; “The miraculous fishing”, works not datable but with attribution corroborated by style. In addition, the frescoes in the east and west corridors of the Villa La Rotonda, near Vicenza; the fresco in the apse basin of the chapel of the church S. Croce, Vicenza, now destroyed; the frescoes of the central hall of Villa Camerini a Montruglio (1714) and a painting of a “Porto Regio”, of which we have a print engraved by Dall'Acqua. From his works emerges the artistic background that animated the Venetian culture in the early eighteenth century. The scenic grandeur with which Aviani treats the architecture also suggests a stay in Emilia of the painter, in which he could have come into contact with the environment of the Bibiena. These contacts would be confirmed by the press of Cristoforo Dall'Acqua (Vicenza 1734-1787), “Il porto regio”, after a painting of Aviani. The press was part of a group of engravings, representing royal buildings, reproducing paintings of the Bibiena. In the eyes of Dall’Acqua, therefore, Aviani’s work was not foreign among those of the Emilians. Inside the sumptuous architectural whims, Aviani often depicts biblical scenes, in which the characters share the space and the narrative rhythm, along with figures drawn from everyday scenes, memories of the Veronese and Bassano heritage. Also in the works covered by this study the author does not seem to want to give up a biblical subject, though the purpose of the paintings appears to be clearly a staging scenography-architectural within which the characters are relegated to the role of extras. From the examination of the architectural Capriccio gathered under the name of Aviani then emerge common elements. The comparison between these works and the works in question highlights the proximity of the compositions. The imposing and scenic architectures are in fact equally characterized by the perspective-scenographic ability diffused in emilian “quadraturisti” and in Bibiena work. In fact, you can see the spectacular slender architecture in the lower part, the loggias that create chiaroscuro games with arches and binate columns placed on massive bases and overhung by projecting cornices. Significant also the comparison with two paintings with architectural whims in a night vision attributed to Francesco Aviani. In Aviani’s works it is possible to find a certain knowledge of the Roman Codazzi paint nd its early development of the eighteenth century, developed with the Locatelli, the Pannini and the less known Domenico Roberti. To Roberti have been recently attributed two works that have some compositional affinity with the canvases in question. The same can be done for a work on the antique market, attributed to Pietro Francesco...

1870 original religious painting. Cherubs Signed by S.Barber Interior measurements: 48.42in x 39.76in Frame: 2.75 in.

17th Century Flemish Tronie Portrait Oil on Canvas. Monogrammed The painting demonstrates the Flemish style executed in 16th/17th century portraiture. This bust-length portrait depi...

This framed engraving, made in the red chalk style, represents the apostle Matthew writing his Gospel under the dictation of the angel. The angel is Matthew's symbol, because his Gos...

Magnificent French Floral Oil Painting by Charles Henri Franzini d’Issoncourt A striking original oil on canvas by the distinguished French artist Charles Henri Franzini d’Issoncour...

This is a Pair of Oil Paintings of Concert of Birds. They depict different birds perched in a branch of a tree. It appears that there is a music paper attached to the tree in one of ...

18th Century oil on canvas painting depicting Saint Catherine of Siena bearing lilies and a book in her left hand and a crucifix in her right ...

Maximilian Pfeiler (active Rome, circa 1694-circa 1721 Budapest) Still life with peaches, grapes, figs and pomegranate Oil on canvas, Measures: cm H 63,5 x W 47. With frame cm ...

Peruvian Cuzco School Oil on Canvas of the Archangel Michael defeating Satan 18th Century. Later Frame. Wear commensurate with age. The Cuzco or Cusco school was a Roman Catho...

A fabulous 19th-century handwoven tapestry in excellent condition. The scene of celebration among nature. A similar technique is used for making the tapestry, as in Aubusson and Needlepoint in the flat weave role. These decorative area rugs are sporadic luxury rugs for sale in any rug store. They can exist as designer rugs or interior design elements in antique rug galleries or be recommended as a design object by interior designers for home decor. Rare Tapestry Rug Wall Hanging Carpet...

A Flemish Baroque landscape hunting tapestry from the late 17th or early 18th century, depicting a young Archer carrying a bow and arrow within a forest in a meadowland setting. Encl...

Antique decorative oil painting on wood panel, belonging to the 17th-century Flemish school. The work depicts the biblical scene of "Susan and the Elders," a recurring theme in Baroq...

A beautiful pair of Italian 18th century Baroque carved Mecca decorative wall decor. Each wall decor is in the shape of a family crest and displays wonderful richly scrolled designs ...

This richly detailed still life painting by Ida Calzolari draws inspiration from 17th-century Dutch and Flemish masters. A lush bouquet of flowers overfl...

PAIR of Italian Venetian style (19th Cent) gilt framed oil paintings of canal scenes.

Gorgeous blue hand painted Baroque cherub or angel 18th century style Portuguese ceramic tile/azulejo The tile painted in cobalt blue over white in typical 18th century Portugal set ...

A pair of Italian baroque paintings of Jesus Christ: - An 18th Century painting that depicts the Holy Family, Child Jesus, the Virgin Mary and the elderly Saint Joseph, with the An...

Gaspar Peeter de Verbruggen the Younger (Antwerp, 1664 – 1730) and Pieter Ykens (1648 – 1695) Still Life with Fruit, Flowers, and Female Figure (Flora) Dimensions: Frame: W 143 cm x ...

Porcelain plaque painted with Mary Magdalene by K.P.M. German, circa 1900 Measures: Frame: Height 32.5cm, width 26.5cm, depth 3cm Plaque: Height 25.5cm, width 19cm, depth 0.5cm ...

This incredible hand crafted Italian (Venetian ) 17th- 18th century Wall Hanging /Valance originated from a gorgeous Palazzo in Venice with i...

A 17th Century Flemish Baroque tapestry with Dramatic composition and movement –The central figure is in a dynamic pose with flowing draperies, and strong diagonals to convey action...

This exceptional pair of Italian console shelves from the 18th century that exude elegance and grandeur. The intricate design and craftsmanship of these shelves are a testament to th...

18th century sanctuary oil on panel The Roman Sanctuary of the Felix father in Jativa, Valence, Spain.

This is the Good Shepherd With Lamb Painting. It depicts an oil painting in canvas of the Christ Child seated in a large rock holding with his right hand the shepherd stick and the l...

Well-executed oil on canvas painting after the original 1653 painting by Diego Velasquez, which hangs at the Prado Museum in Madrid. This one is slight...

Magnificent 17th-Century French Aubusson Tapestry – Alexander the Great and Bucephalus An exceptional and rare Aubusson tapestry from the 17th century, masterfully handwoven in wool ...

"The Tears of Saint Peter", Follower Domenikos Theotokopoulos- El Greco 19th Century El Greco Museum. Toledo, Castilla la Mancha, Spain. Saint Peter's Tears El Greco (1541-1614) Oil...

This oil painting on canvas, created by an artist from the 17th Century Flemish School, depicts one of the most significant scenes from Greco-Roman mythology: Aeneas saving his famil...

A delightful and most charming true pair of Italian 18th century Baroque st. Giltwood wall decor. Each wonderful putto/cherub is dressed in a loose flowing fabric with a laniard acro...

This 17th-century Flemish verdure tapestry is a remarkable example of Baroque textile art, celebrated for its lush naturalism and painterly detail. Handwoven in Flanders from wool an...

MARINE Oil on canvas, 19th-century English school Has a label on the Christie's Auction grid with No. 7389. Dimensions: 64 x 76 cm Good condition

Smaller size with embossed decoration.

Very early Italian School Madonna and Child, Italian Baroque oil on board painting. Professionally restored. The careful removal of accumulated dirt and age-related damage, followed ...

Moses and the bronze serpent depicted in low relief carving in Italian Marmo Ross di Verona. Handcrafted replica of a Tau Cross XIII century artifac...

An Italian Baroque style fruitwood wall bracket from the late 19th century, with carved putto figure. Born in Italy during the later years of the 19th century, this fruitwood bracket...

Exceptional fragment of a baroque altarpiece in carved and gilded wood. The technique used in the conception of this piece is exceptional, the different elements have been devastated...

Portrait of a German Lady in Oil, Central European School, 18th Century, in a 19th Century Gilt Frame Oil on canvas of remarkable quality depicting an 18th-century German noblewoma...

17th Century French Hunt Scene Handwoven Tapestry with some wear spots as shown in the pictures

Unknown Flemish Artist, Belgium 18th century, in the right part of the painting the artist represented a man sitting in front of a tavern. He is surrounded by Delft baroque earthenware pitchers and plates. The right side of the painting shows different types of birds, among them chicken, a swan, ducks and a peacock. The painter was here definitely inspired by the 17th century painter Melchior de...

Pietro Bardellino (Italy - Naples, 1732 - 1806), attr., Sacred Heart of the Child Jesus Measurements: with frame, cm L 86 x H 99 x P 8; only the canvas, cm L 78 x H 64 The painting, made in oil on canvas, represents the Sacred Heart of the Child Jesus. Stylistically the work is attributable to Pietro Bardellino (Italy, Naples, 1732 - Naples, 1806), a pupil of Francesco De Mura and considered by critics one of the most gifted and sensitive exponents of the Rococo style in Naples. The canvas represents the Child Jesus, surrounded by flowers in an outdoor setting, while showing the sacred heart. The canvas has a well-balanced color and a strong sweetness of the child’s traits, which with the complicit gesture of the right hand, involves the viewer in the intimate and delicate sharing of the garden in which he sits. The roses, in addition to being a beautiful piece of still life, contribute to enrich the Christological message, being bearers of symbolic meanings. Marian attributes par excellence, are often side by side with Christ, whose thorns foreshadow the Passion. In the canvas, on the top left, two cherubim are observed: among them, according to the Old Testament, is God: the author therefore puts into place an iconographic and iconological hyperbole that amplifies its meaning. The iconographic theme of the Child Jesus with the Sacred Heart in his hand spread between the second half of the eighteenth century and the first of the following century. With the worship of the Sacred Heart of Jesus, the Catholic Church intends to honour the Heart of Jesus Christ, one of the organs symbolizing his humanity, which by intimate union with the Divinity, has the right to worship and love of the Saviour for men, of which His Heart is the symbol. It represents one of the fundamental devotions of Christian life, as it manifests the true face of God, who is prodigal and boundless love. It was the French mystic Saint Margaret Mary Alacoque...

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...

Beautiful and well preserved 17th Century Flemish mythological tapestry, possibly Wauters Workshop, Flanders, Antwerp. Retaining good colour and backed in Belgium linen. With some be...