Late 19th Century Portrait Drawings and Watercolors

François Clément SOMMIER, known as Henry SOMM Rouen 1844 - Paris 1907 Young Elegant woman in hat, nocturnal Watercolor Signed lower right 32 x 21 cm 50 x 40 cm framed Very good cond...

Four young English girls with flowers are shown in a line and moving from left to right. They are pushed forward on the picture plane as if they were on a stage with a simple indica...

Albert Lebourg ​ Étude des paysans ​ pencil on paper, signed lower right, estate stamp on the reverse, 19 x 13.5cm ​ Provenance: Vente Maître Dumousset, Paris, May 1999: Pri...

This drawing by Léon Bonnat, the greatest portrait painter of the Third Republic, shows a woman of indeterminate age, caught in a melancholic pose. 1. Léo...

Signed, dated, and titled, lower left: L Ury/ 1883/ Studie zum Hiob Provenance: Mr. and Mrs. Dennis Berger, New York, until 2005; thence by descent. Literature: Illustrated in...

Dionis Baixeras i Verdaguer (1862-1943) - Docker - Charcoal drawing Drawing measurements 58x43 cm. Frame measurements 74x59 cm. Dionisio Baixeras Verdaguer (Barcelona, ​​1862-1943),...

Untitled, 1894 Graphite on paper Sight: 13 1/2 x 17 in. Framed: 20 x 24 x 1 in. Signed and dated lower right, inscribed lower left

Henri COURSELLES-DUMONT Paris (1856-1918) Woman seated on a Divan Watercolor Signed and dated "Henri Dumont 1884" lower right 40 x 26 cm Very good condition Trained at the École de...

A fine oval portrait of an Victorian lady wearing a black and gold gown with red hair and pearls. The artist has portrayed the sitter with delicacy, highlighting the women's porcelai...

Pioneering English Female Illustrator Helen Stratton masterfully renders in pen and ink a scene from "The Little Mermaid" in George Newnes's 1899 editi...

Signed with the estate stamp initials lower right, Lugt 388a (see photo) Provenance: Richard Norton Gallery, Chicago (label verso) Fairweather-Hardin Gallery, Chicago (label verso) ...

French school circa 1880 Portrait of a boy holding a book graphite and white gouache on paper 39.5 x 32 cm oval view in good condition, slightly yellowed with age In its original ova...

An accomplished watercolour study depicting a smartly dressed gentleman in his library. The poised man sits proudly in a chair with a finger pressed between the pages of his book. As...

A delightful watercolour portrait depicting an Italian girl holding her fishing net and yarn. The girl is depicted in traditional dress with a colourful coloured apron. Signed to the...

Il piccolo ma dettagliato dipinto a tempera acquerellata su carta, di forma ovale, è firmato in basso a sinistra E. Niccheri, ovvero Egisto Niccheri, un pittore toscano attivo soprat...

A delightful three-quarter length portrait depicting a girl in winter attire. She wear a flamboyant pink scarf tied in a bow which compliments her greek cloaked coat and hand muffs. ...

Portrait of Dr. Auguste Soins Black chalk on paper, c. 1883 Signed with the artist’s estate stamp, Lugt 1305a lower right (see photo) Note: This possibly is the preliminary drawing f...

Portrait of Men is an Artwork  realized by  the French Artist Gaston Charles Vuillier. Drawing-ink on paper.  The artist wants to define a well-balanced composition, through precis...

A delightful and subtle watercolour portrait of a young girl in traditional Portuguese costume. Unsigned. Well presented in a simple gilt frame. On ...

Charcoal on paper, signed and dated '1888' bottom right Image size: 9 x 7 1/2 inches (22.75 x 19 cm) Period frame The half-length portrait depicts the subject sat, wearing a white s...

Alice Mary Chambers. English ( b.1855 - d.1920 ). Portrait of Rebecca Porter Paddon 1850 – 1915 (nee Somerset) Red Chalk on Paper Signed with monogram upper left. Image size 17.9 inches x 14.8 inches ( 45.5cm x 37.5cm ). Frame size 25 inches x 21.9 inches ( 63.5cm x 55.5cm ). Available for sale; this original sanguine red chalk portrait drawing on paper is by the English female artist Alice Mary Chambers and dates from around 1880 to 1885. The drawing is presented and supplied in a glazed frame dating from the 1990s which uses a backboard and mount from the 1960s (which is shown in these photographs). This antique drawing is in very good condition. It is supplied ready to hang and display. The drawing is signed with the artist’s monogram upper left. Provenance: By descent through the sitter’s family. Alice Mary Chambers was a fascinating and significant figure in British artistic circles, and part of the higher echelons of the ‘aesthetic’ phase of the Pre-Raphaelite movement of the late nineteenth century. A contemporary of Evelyn De Morgan, Kate Bounce and Marianne Stokes, she was also a close friend of Charles Augustus Howell through whom she met Algernon Swinburne, Whistler and Dante Gabrielle Rossetti. The influence of Burne-Jones, Holman Hunt and E.R. Hughes can also be seen in her highly acclaimed red chalk studies and watercolour works. Alice was born in Harlow, Essex, in 1855, the daughter of the Rev John Charles Chambers, a controversial figure in the Anglican Church, and his wife, Mary. Their two older children had both died in infancy in 1852. At the time of her birth, Alice’s father was vicar of St Mary Magdalene in Harlow, but in 1856 he became perpetual curate of St. Mary’s, Crown Street, and warden of the House of Charity, both in Soho, London, and he retained these positions until his death. He has been described as turning St Mary’s into a model for managing a parish along ritualist (Anglo-Catholic) lines. By consent, he and his wife separated ‘each to live crypto-monastic lives of celibacy and charity’. Census records show that in 1861 Alice and her mother were living at Fernley Bank, West Hill, Sydenham, a school for young ladies run by her mother’s sisters, Sarah, Martha and Ann, and at which her mother also taught. By 1871 Alice and her mother were again living with her father, in Bloomsbury. However, within the next three years, both her parents died. In his will her father made his brother, who was vicar of Hook in Yorkshire, guardian of Alice and left the income from a substantial sum for her maintenance and education. It appears this enabled her to complete her studies. Alice had emerged as an artist by 1875, when she produced her earliest dated work. She exhibited at the Royal Academy (9 works), and the New Watercolour Society and the New Gallery, London between 1881-1894. She specialised in drawings of female figures and mythological and orientalist subjects. She also provided frontispiece illustration for Mary Hullah’s The Lion Battalion (1885), a collection of stories for children. Chambers signed her work with a monogram which is reminiscent of Rossetti’s, and often used a leafy backdrop. By 1881 Chambers had established a close relationship with the artists’ agent, Charles Augustus Howell, who is considered one of the most colourful characters of the Victorian age. Howell was the friend and agent of Dante Gabriel Rossetti, and later secretary to John Ruskin. He had a mixed reputation during his lifetime, as both a ‘gifted raconteur’ and a ‘prodigious liar’. Chambers became a member of a close circle around Howell, that also included his wife, Kitty, and his mistresses, the artist Rosa Corder and Clara Vaughan. It has been suggested that Chambers was the third of these mistresses, though she somehow managed to retain her respectability. Chambers was at her most artistically productive during the years of her friendship with Howell and his circle, benefitting from the support of a like-minded community. By 1881 she was living at 17 Red Lion Square, an address with significant Pre-Raphaelite associations – and described herself an “artist in drawing and painting’. Previous lodgers at 17 Red Lion Square included Dante Gabriel Rossetti, W.H.Deverall, and Edward Burne-Jones. It was also the premises at which (William) Morris, Marshall, Faulkner & Co established their first headquarters. When Howell died in 1890, he and Chambers were living at the same address in Southampton Row, and possibly in a ménage with Rosa Corder. Chambers was obviously a most trusted friend as she was named as one of the two executors and trustees of his will, along with the auctioneer, Frederick John Bonham, and as one of the two guardians of his daughter by Kitty, along with Corder. It was Chambers who made the arrangements for Howell’s funeral and the sale of his estate. Following Howell’s death and through the 1890s Chambers appears to have led a peripatetic life and spent much of her time in France and Spain In 1901 she was living at 15 Ann’s Villas, in West London, and described herself in the census at living on her own means, rather than as an artist. From that time, she retained one or more addresses in London, but spent most of her time in a cottage in Sussex, or abroad in Italy or Spain. In 1913 Chambers donated Dante Gabriel Rossetti’s plaster death mask to the National Portrait Gallery. Alice Chambers died at Pomona House, Fulham on 5 May 1920. © Big Sky Fine Art There is a tantalizing link between the artist and the sitter of this drawing; they were both remarkable women in their time, with only five years between them in age, and they had the same lifespan of 65 years. They would have mixed in similar social circles and from what is known of their individual lives it is easy to imagine that they would have admired and respected each other. They obviously spent time together when Rebecca sat for her portrait. From the appearance of the subject, it can be reasonably estimated that the picture was created around 1880-85, when the artist would have been around 25-30 and the subject around 30-35. There are two likely circumstances in which this picture may have been commissioned. The first is the occasion of the marriage of Rebecca to her second husband, art collector Samuel Paddon, in 1879. In this scenario, this would have been a romantic gesture, to capture the beauty of the bride. The second scenario is a more pragmatic one; in 1885, six years after marrying Rebecca, Samuel Paddon sued the infamous artist’s agent Charles Augustus Howell. As a close friend, and possibly lover of Howell, Chambers provided promissory notes to help settle the claim. So, this portrait may have been undertaken as part of that settlement. Whatever the circumstances of its creation, this drawing demonstrates the extraordinary skill of one enlightened young woman by capturing the spirit of another. © Big Sky Fine Art This truly beautiful original red chalk drawing on paper by Alice Mary Chambers (1855-1920) is a half-length portrait of Rebecca Porter Paddon, nee Somerset, (1850-1915). It is signed with the artist’s usual monogram in the upper left section. Chambers was well-known for her red chalk studies, and this is a very fine example of her work. The beautiful young woman who is the subject of this drawing is Rebecca Porter Somerset Paddon and her own story merits telling too: Rebecca was born at Wootton Bassett in Wiltshire in 1850, the daughter of Edmund Thomas Somerset and Mary Ann Somerset. She married Charles John Paddison on 24 June 1874, but three years later she filed for divorce on the grounds of his cruelty and adultery. She also sought custody of their son, born in 1875. The divorce became final in 1879. Until the 1857 Matrimonial Causes Act it was essentially impossible to obtain a divorce without the passage of a private Act through Parliament. Even after 1857 divorce was extremely rare in England, and for a woman to divorce her husband was virtually unheard off. The fact that Rebecca was courageous enough to initiate and see this process through speaks volumes of her character. Two years after her divorce Rebecca married again, on 17 May 1879. Her second husband, Samuel Wreford Paddon was a diamond merchant and art collector. They went on to have three children together ; Eva, Stanley and Philip. Samuel Paddon was an associate of Charles Augustus Howell, and through him was introduced to Whistler. At this time the Paddons were living in Reigate, Surrey. Rebecca is known to have liked pastel drawings, and bought one from Whistler, possibly from the Venice Pastels exhibition of 1881. During the 1880s the Paddons lived at 55 Earls Court Square, London. Samuel Paddon eventually fell out with Howell over some black Chinese ware...

Melchior DOZE (1827-1913) Study of a saint, ca. 1875-79 Preparatory drawing for the decoration of the church of Saint-Félix de Saint-Gervasy (Gard), chapel of the Cross (south side...

Portrait of a Child is an Artwork  realized by  the French Artist  Gaston Charles Vuillier. Gouache on paper. 

Portrait of Gentleman is a drawing in Pencil, Charcoal, and watercolor realized by Alfred Grévin in the late 19th Century. Applied on a Passeprtout. Hand-signed in pencil In good ...

A fine large half-length portrait of a lady which was drawn in the late 19th century by British artist Horace Henry Cauty. A stunning and detailed work it is dated May 1892. It is a...

The Crusades is a drawing realized by Alfred de Richemont (1857-1911) in the late 19th Century. Pencil, Ink, and Watercolor on paper. Hand-signed. In good conditions. Including a...

A fine Victorian portrait of a young child wearing a white bonnet with lace collar and gown. The artist has captured the sitter's complexion with great skill, perfectly depicting the...

A charming watercolour scene depicting a sleeping boy on the verge of a lake. Unsigned. Well presented in an oval frame with a beaded running pattern and acanthus details. On paper.

A very finely drawn portrait of a little girl holding a wicker basket and picture of Jesus and the Virgin Mary. Signed to the lower edge and inscribed in French 'July 18899'. On paper.

Signed to the lower right. On paper.

William Magrath (Irish, 1838-1918) Woman with a Blue Kerchief Watercolor on paper, mounted; 18 1/2 x 14 1/2 inches Signed and dated at upper right: "W Magrath/1876" Stamped on stret...

Auguste Gardanne (circa 1840- circa 1890) Soldiers at rest during the franco-prussian war of 1870 Watercolor on paper On the reverse Study of a battlefield (?) Pencil on paper Mark o...

Auguste Gardanne (circa 1840- circa 1890) Carriages and horses during the franco-prussian war of 1870 Pencil and watercolor on paper On the reverse Studies of horses Pencil and water...

A particularly fine Chinese School portrait with body colour, depicting a seated dignitary with his young consort. Well-presented in a wonderful reeded oak frame with gilt card mount...

Alexandre Bida (1813-1895) A Young Woman in Profile Signed with the monogram lower right Pencil on grey-blue paper 17.7 x 11.5 cm Framed : 36.5 x 27 cm This drawing shows Bida's tec...

A wonderful portrait of a young farmer or labourer standing with a scythe. He wears a colourful red waistcoat with blue socks and yellow scarf. Well presented in a gilt effect frame....

French painter (19th century) - Four erotic scenes. 17 x 24 cm without frames, 21.5 x 28.5 cm with frames. Antique ink drawings on paper, in wood...

A characterful watercolour portrait of an elderly man in work clothes, posed with a splitting maul in hand. The watercolour has been signed and dated to the lower right. Well present...

A virtuoso charcoal sketch by the Frech 19th Century master Gustave Jean Jacquet (1846-1904). It depicts a thoughtful woman (or woman in thought?) with her face resting on her hand...

Watercolour on paper, signed and dated '1870' lower left Image size: 5 x 6 1/2 inches (13 x 16.5 cm)

A delicate portrait of a young watercress seller holding a wicker basket of cress. These street sellers were common during the 18th and 19th centuries and would sell to workers early...

A subtle watercolour portrait of a peasant woman in profile. Presented in a reeded gilt frame with wash-line mount. Signed and dated, 1989. On paper.

Signed upper left, 'C. J. Turrell' for Charles James Turrell (British-American, 1845-1932) and dated 1876. Framed dimensions: 12 x 1 x 10 inches Charles James Turrell was one of the most talented miniaturists of his age. Born in London, he studied under a Mr. Sargeant, perhaps Frederick Sargeant who exhibited at the Royal Academy, before visiting the United States in 1867 where he painted miniatures at the studio of photographer Napoleon Sarony. During this time, Turrell had distinguished sitters including members of the Vanderbilt, Whitney, and Morgan families. While in America, Turrell married and would go on to maintain successful careers in both New York and London where, in 1869, he opened a studio on Bond Street. Turrell exhibited widely and with success including annually at the Royal Academy (1873-1904), the Society of Miniaturists (1873 – 1932), the Brooklyn Art Association (1868), the Pennsylvania Academy of Art (1901) and at the Paris Salons. His sitters included Queen Victoria, King Edward VII, and Queen Alexandra, when she was Princess of Wales (1884). In 1890, he was appointed official miniature painter to Queen Victoria. Turrell's work is held in the Royal Collection at Buckingham Palace as well as in the permanent collections of New York's Metropolitan Museum of Art, London's Victoria & Albert Museum and the Mount Vernon Collection in Washington D.C., among others. Reference: E. Benezit, Dictionnaire des Peintres, Sculpteurs, Dessinateurs, et Graveurs, Jacques Busse, 1999 Nouvelle Édition, Gründ 1911, Vol. 13, page 863; Who Was Who in American Art 1564-1975: 400 Years of Artists in America, Peter Hastings Falk, Sound View Press 1999, Vol. 3, page 3354; Mallett’s Index of Artists, Daniel Trowbridge Mallett, Peter Smith: New York 1948 Edition, R.R. Bowker Company 1935, page 444; The Dictionary of British Artists 1880-1940, J. Johnson and A. Greutzner, 1980 Edition, Antique Collectors’ Club 1976, page 511; Dictionary of British Miniature...

Portrait is an Original Charcoal Drawing realized in the late-19th century by Edouard Dufeu (1836-1900). Hand-signed by the artist on the lower right corner. Edouard Dufeu coming from a family originally from Egypt , Dufeu moved to Paris in 1860 and frequented the studio of Charles Gleyre...

Watercolour on paper, signed and dated 1884 top left Image size: 11 x 8 3/4 inches (28 x 22.25 cm) Original gilt frame This is a late 19th century portrait of a girl in profile, wea...

This late 19th-century British portrait study depicts a lady wearing a black hat with a veil. It’s an intriguing little mystery. With an enigmatic expression, she peers back across ...

Emil Faesch (1865 Basel - 1915 Basel). Sketch of a head. Charcoal on painting cardboard, 60 x 47.5 cm (folio size), signed and dated at lower right "E. Faesch. 1888.". Minor browning. - Carved in stone - About the artwork The life-size head has an immensely present presence. This effect is due to the fact that Faesch took his cue from academic classical...

FRANK LEWIS EMANUEL (1865-1948) Portrait of Archibald Hartrick Signed, inscribed and dated l.l.: A S HARTRICK (artist) by F L EMANUEL 1884 Black chalk heightened with white chalk on blue paper...

Sketchbook Page with Figures and Anatomical Details in Pencil on Paper Drawings of a man at a desk and other figurative sections by an unknown artist (19th Century). On the left sid...

Adolph Eduard Otto von Faber du Faur (1828 Ludwigsburg - 1901 Munich). Man sitting in the studio. Watercolour painting, 43 x 27 cm (visible size), 73 x 53 cm (frame), monogrammed at lower right, estate stamp. Upper right corner neatly repaired, small tear in the wall to the left of the sitter. - Thinking about art - About the artwork The sitter, an elderly man, is seated in a studio on a pedestal reminiscent of an academy hall. The earthy, dark tones give the scene a weighty quality. The lightest tones are found in the incarnate parts of the figure, which do not stand out from the other colours of the picture, but are linked to them. As a result, the sitter's face is both part of and the highlight of the colour references in the picture. The colour of the sitter's skin is reflected in his pink coat, while his white-grey hair matches the colour of the wall next to him. This almost monochrome wall surface, in turn, is connected across the portrait to the framed picture standing on the floor, which seems to have been erased by this correspondence with the empty wall surface. Through the palette, which is positioned directly behind the sitter's head, the reference to painting, which is already given by the studio space, is explicitly linked to the sitter, who thus seems to be contemplating the question of the meaning of art. This raises the question of whether Faber Du Faur, who had become lonely in his old age, might have painted a self-portrait here in his later years. In addition to the studio setting, the sitter's explicit reference to the palette and the fact that the picture was part of his estate, the only summary elaboration of the body suggests a self-portrait, while the representation of the face is concretised with the wide-open eyes typical of a self-portrait. This concentration on the face gives the impression of the artist's melancholy introspection, captured by the palette and related to the meaning of painting, whose dark character is reinforced by the concealment of the palette hanging on the right of the picture in the light tones so characteristic of Faber Du Faur. In the course of this resignation, Faber du Faur advises his son Hans, who has also become a painter: "Promise me one thing: never move to Munich, they'll kill you here!" Whoever the sitter may be, the references to painting make the portrait a resigned self-contemplation by Faber Du Faur, focused on art. About the artist After leaving school, Otto Faber du Faur entered the service of the Württemberg army, at the same time cultivating his artistic talent. In 1851, on the recommendation of his father Christian Wilhelm, who was himself a battle painter, he spent six months in Munich as an apprentice to Alexander von Kotzebue. In 1852 he was granted a year's leave of absence from military service to study battle painting in the studio of Adolphe Yvon...

Hermann Prell (1854 Leipzig - 1922 Dresden-Loschwitz). Half-length portrait of a Pharisee, 1885. Sketch for the right-hand figure in the painting Judas Iscariot, 1886. Pencil drawing heightened with opaque white and black chalk on beige-grey wove paper (papier vélin), 34 x 27.8 cm (visible size), 52 x 45 cm (mount), signed, dated and inscribed "H. PRELL 1885 zu 'Judas'". Minor browning, collection stamp on the reverse. - In the shadow of betrayal - About the artwork This painting is the sketch for the head of the Pharisee offering the coins to Judas in one of Herrmann Prell's major works, the painting Betrayal of Judas, completed in 1886. The painting belongs to the Staatliche Kunstsammlungen Dresden and is illustrated in Adolf Rosenberg: Prell, Bielefeld and Leipzig 1901, p. 21 (Fig. 19). It is especially highlighted in Thieme-Becker (vol. 27, p. 376). Hermann Prell, Betrayal of Judas, 1886 The monumental head, which fills the picture and is distinguished by its ornamented robe, is almost a lost profile, which in the executed painting is justified by the Pharisee's turning towards Judas. Despite the fact that the sitter withdraws from the viewer by turning away, it was necessary to artistically elaborate the motivation for the purchase of one of Christ's disciples, which is why the drawing focuses on the expression of the face, while the 'accessories' are treated in a more summary manner. In characterising the face, Hermann Prell performs a balancing act: since the Pharisee, despite his destructive actions, is an actor in the history of salvation, the head must show a dignity appropriate to the event, but at the same time the physiognomy must also bear witness to the scheming attitude that led to the betrayal. To solve this dilemma, Prell draws on the traditional depictions of the heads of the apostles, shading the face to indicate the obdurate darkness of the spirit and moving the base of the nose slightly upwards while the mouth falls away, thus giving a physiognomic expression to the motivation of the action. The fatal drama of the betrayal is expressed in the monumentalisation of the head and in the thunderous white highlights that contrast with the darkness of the chalk. As a study, considered by the artist to be a work in itself, this drawing reveals the pictorial problems and brainstorming of monumental painting. About the artist In 1872 Prell, who was one of the most important exponents of monumental painting of his time, began studying painting with Theodor Grosse at the Dresden Academy of Art and continued with Carl Gussow at the Berlin Academy in 1876. Hans von Marées taught him in Rome in 1878. More influential on his work, however, were Arnold Böcklin and Max Klinger, with whom Prell had been friends since his student days and with whom he worked together on several occasions. Prell's first major work, which established his reputation as a monumental painter, were the frescoes in the banqueting hall of the Architektenhaus in Berlin in 1881/82, commissioned by the state and depicting the different periods of architecture. Prell then went to Italy for two years to study fresco painting. Other major commissions followed. These included monumental frescoes in the town halls of Worms (1884), Hildesheim (1882-92), Gdansk (1895) and Dresden, the staircase of the Silesian Museum of Fine Arts in Breslau (1893/94), the throne room of the German Embassy in Rome (1896-99) and the staircase of the Albertinum in Dresden (1900-1904). From 1886 Prell taught at the academy of arts in Berlin and in 1892 he was appointed professor at the academy of arts in Dresden. His students included Osmar Schindler and Hans Unger...

Late 19th century drawing on paper of a French marine scene by noted French artist Georges Ricard-Cordingley. Carrying the atelier stamp to the bottom left and with full annotation a...

'Temple Official', pencil and watercolour on paper by Robert Taylor Pritchett (1882). This is the artist's portrait of a financial official in a Cantonese temple in Guangzhou, China in the latter half of the 19th century. His garment is typical of that of a senior civil servant of the Chinese government. Clothes were designed to indicate rank and status, becoming so distinct that the wearer’s position could be ascertained at a glance. During his second career as an artist, Pritchett traveled widely in the Pacific region in the 1880s. This artwork has been professionally restored and cleaned to preserve it for decades to come and therefore in good overall condition. It has also been newly framed and glazed. The artist has written 'The Treasurer & Temple' and '5 Geni Temple, Canton Jan. 22 1882' on the lower left and right hands of the artwork. Upon request a video of the work may be provided. About the Artist: Robert Taylor Pritchett (1823 - 1907), a gun maker and artist, was the son of Richard Ellis...

A charming portrait depicting an elegant young woman in a garden setting. She holds a letter out in the sunlight, looking intently at the words. Unsigned. Well presented in a gilt fr...

A fine 19th Century pastel portrait, showing a pretty, smiling young woman, proudly holding a tiny white kitten. The subject and soft rendering of ...

Well presented in an ornate gilt affect frame. Signed with a monogram to the lower right. On paper.

Portraits is a drawing in China ink on paper realized in the late 19th Century by Félix-Joseph Barrias. Monogrammed on the lower center. Included a Passepartout: 33 x 50 cm Good c...

A charming scene depicting a woman seated on a wooden fence in the summer garden. Signed to the lower right. Presented in a gilt frame with acanthus details . On paper.