1,477 results for "baroque"

Set of Three Double-Scene Biblical Engravings, Pieter Mortier, Amsterdam, ca.1700 This finely engraved biblical set consists of three early-18th-century copper engravings, each shee...

Excellent 17th-century Italian School. After Michelangelo Merisi, known as Caravaggio. "Deposition of Christ" Canvas 42 x 31 cm - 16 9/16 x 12 3/16 in. Good condition The Deposition...

Depicing a genre scene in the Baroque style showing a dark vs light contrast imitated throughout the 18th and 19th centuries, placed in a later Regence style frame this oil on canvas...

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

A finely rendered heraldic watercolor on paper depicting an elaborate composite coat of arms, signed lower right “E. Wenzel” and likely executed in the late 19th century. The work pr...

The Treasures of Rembrandt Book by Michiel Roscam Abbing Art Gallery Book in slip case. Celebrating the 400th anniversary of the birth of one of the wo...

A very fine Italian 17th century oval oil on canvas "Head of Christ Crowned with Thorns" Circle of Pierre Mignard (French, 1612-1695) within...

English School 17th Century "Portrait of George Villiers Duke of Buckingham" Oil on canvas 66X53 cm size without frame George Villiers, 1st Duke of Buckingham (Brooksby, 28 August 1...

18th Century German Old Master Painting “ Diana and Endymion “ Signed This exceptional and beautiful allegorical painting is executed in oil on canvas. The canvas is painted in a ma...

A fabulous early 19th centruy Italian Console, wall Bracket is an incredible example of venetian crafstmanship of that time. The top has a very good and spacious size. Gold gilded an...

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...

Antique Architectural Engraving of the Louvre Grande Galerie Façade, Jean Marot, c.1670 This rare antique architectural engraving presents the elevation of the south façade of the G...

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...

A Beautiful Italian grand tour style pietra dura mosaic on marble plaque with gilt framing. Picture is a bird on branch with leaves and flowers.

18th-century Italian gilded sunray on a hand-distressed canvas aged with natural pigments and adorned with faden crystals. The piece is put together by Jean O'Reilly Barlow, the art...

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...

Antique portrait titled 'Rubens'. Portrait of the Baroque painter Peter Paul Rubens. Source unknown, to be determined. Artists and Engravers: Made by Benoist after Le Clere. ...

1960 Vintage Art Nouveau Tapestry Abstract Fish Handwoven 2x4 About Us~ Welcome to Antique Rug Collection. Your #1 Source for handmade Antique Rugs & Tapestries at great prices, cu...

Gorgeous 18th Antique Century Silk & Wool French Verdure Tapestry, Country of origin: France, Circa date: 18th Century

Silver and gold gilt decorative sculpture pediment with scroll work, sunflowers and leaves. Could be used over a mirror, bed as corona or door having the right width or above headboa...

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

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...

Early religious work of art, presented in the original antique frame. This beautiful and uplifting portrait of Saint Joseph holding hands with the child Jesus is an oil on canvas an...

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

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

Set or pair of robustly carved silver Giltwood wall trophies or wall appliqués .In the baroque style with dramatic acanthus scrolls and flourishes .Of wood with iron hangers on back....

Pair of 18th Century Spanish Colonial School Reverse Glass Paintings Gold Leaf Carved Frames. Each painting depicts vivid religious scenes rendered in rich color and detail. The comp...

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...

This 18th-century Flemish oil on wood painting depicts the moment of adoration of the Child Jesus, in the loving arms of the Virgin Mary. Kneeling at their feet is the young Saint J...

A fine 17th century Flemish oil painting on copper depicting the Virgin Mary in a radiant vision of the Immaculate Conception, surrounded by a lavish garland of flowers including tul...

This beautiful pottery charger is is decorated with a woman carrying a basket of flowers on her head. Vividly painted in yellows, greens, and blues. Condition is very good, does have minor chips commiserate with age and use. Back is signed Vincent Garnier...

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...

Ornately-Carved Walnut Carving of an Angel. France, circa 1700s. Possibly from a ship or country estate.

18th Century, Painting with Architectural Capriccio with figures, attributed to Isaac De Moucheron Measures: canvas cm H 108 x L 152; with frame cm H 132 x L 176 x 8 The painting i...

19th C. carved painted & parcel gilt architectural element. The piece is painted in antique white with 22K gold leaf details throughout. There is also a metal stem of flowers in the ...

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....

Pietro Gabrini (Italian, 1856-1926) a very fine and large oil on canvas "Three Singing Italian Beauties on The Road" depicting three cheerful Village young maidens walking through a ...

Spetchley park, Bargello, silk, bed curtains adapted into wall hangings in the 19th century • The use of silk, patterning and size suggests that these striking Bargello hangings were almost certainly conceived as bed curtains. In the Green Chamber at Parham House the State Bed is hung with Bargello curtains, pelmets and valences c1620. Like the Parham bed curtains, the Spetchley Park bed curtains have two horizontal pattern repeats in each drop. Needless to say, surviving bed curtains from this period are exceptionally rare as they had value as hangings and for upholstering domestic objects when removed from the bed. • The Spetchley Park bed curtains are really beautiful and luxurious. They were made as elite objects and have not lost their gravitas or their character and charm. • The Spetchley Park bed curtains were adapted into wall hangings in the 19th century. They are versatile and could easily be reinstated as curtains or panels within larger curtains. • Bargello work has a classic timeless quality to it and blends with most decorative schemes whether period or contemporary Each panel is made from two sections of bargello. The step (pattern) comprising two rows of short vertical stitches over two threads of graduating numbers of stitches up and down with two rows of long vertical stiches over six threads of graduating numbers of stitches up and down. Worked in graduating shades of blue, green, brown, red, tan and ivory silks on a hessian ground. The four edges of each hanging are faced with a 19th century, dusky pink fan...

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...

This stunning 19th-century French decorative fan is a testament to exquisite craftsmanship and artistic elegance. The fan leaf is meticulously hand-painted on vellum or silk, featuri...

19th century German, likely Berlin Iron Works, cast iron charger with mythological figures of goddesses, putti, various animals and fish in relief. T...

A collection of 18 framed prints from engravings of musical instruments from the book by Gabinetto Armonico, which was published in 1722. The book had a total of 150 instruments. The...

A very large hamered copper wall plate depiction Saint Martin on horse in relief. Signed A Louis. Early 20th century. Measures: Diameter 75 cm.

Early 20th Century Exceptional Framed Hand-Carved Wood Relief of the Last Super. Continental tropical baroque heavy solid wood frame, carved by a master carver. The piece has elaborately carved opulent heavy foliage frame around a meticulously hand carved fugures of Jesus and the 12 Apostles...

A pair beautiful petite hand carved cherub angel Heads, found at an estate sale in Germany. Made by a woodcarver in the Tyrollean Area in Austria, this area is well-known for their w...

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. ...

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

Wonderful image after Rembrandt Fine Steel engraving. Published by Jones & Co., London. C.1850 Unframed.

Early 20th century Baroque style carved giltwood cherub or putti musician depicted as playing a violin and adapted as a lamp.

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...

Early to Mid-19th century. Very colorful. The Bridge The Mill Craquelure throughout as visible in photos. Later frames. Later frames (mid-20th century), typical wear Sight of ca...

18th Century Engraving Sneed Park, the Seat of Joseph Jackson Esquire. Hand colored engraving, “Sneed Park, the seat of Joseph Jackson Esquire. Illustration from the second volume o...

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...

A distinguished 17th Century Italian carved wooden panel, showcasing the artistry and craftsmanship of the Baroque period. The panel is meticulously carved with an intricate design f...

Antique French Tapestry Verdure Noblemen Royalty Verdure 5x9 158cm x 272cm 1920 A magnificent antique French tapestry depicting a scene of noblemen amongst incredible, exotic verdur...

A rare and gorgeous bronze panel, this bas relief sculpture was created by Pierre Bouret in honor of Nicolas Poussin. It's multiple male and female nudes in a bucolic setting are clearly inspired by some of Poussin's Arcadian paintings...

77769, vintage French Medieval tapestry, the Promenade tapestry. Drawing inspiration from a combination of Pieter van Aeist and French Medieval sty...

18th century English or Continental old master portrait of a gentleman wearing a red robe with a black fur collar, holding a stick in his right hand. The stick might be the attribute...

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...

Italian religious sculpture depicting Christ on the Cross, hand carved and lacquered in light ivory, dating from the late 18th century, lacking the arms and with missing at the fee...