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Gothic Figurative Paintings

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Style: Gothic
Painted Wood Tavolette Book Cover Binding in the Biccherna Style Siena Tuscany
Located in Sutton Poyntz, Dorset
Icilio Federico Joni. Italian ( b.1866 - d.1946 ). Painted Gesso, Gilt and Wood Tavolette Book Cover Binding in the Sienese Biccherna Style Book Cover size 11 inches x 8.1 inches ( ...
Category

Late 19th Century Gothic Figurative Paintings

Materials

Gesso, Oil, Tempera, Wood Panel

Painted Wood Tavolette Book Cover Binding in the Biccherna Style Siena Tuscany
Located in Sutton Poyntz, Dorset
Icilio Federico Joni. Italian ( b.1866 - d.1946 ). Painted Gesso, Gilt and Wood Tavolette Book Cover Binding in the Sienese Biccherna Style Book Cover size 11 inches x 8.1 inches ( ...
Category

Late 19th Century Gothic Figurative Paintings

Materials

Gesso, Oil, Tempera, Wood Panel

Italian Gothic style painter - 19th century figure painting - Virgin child
Located in Varmo, IT
Florentine painter (19th century) - Madonna with Child, Saint Joseph and Saints. 90 x 56 cm without frame, 118 x 85 cm with frame. Antique oil painting on wood, in a carved and gil...
Category

Late 19th Century Gothic Figurative Paintings

Materials

Oil, Panel

Gotich style Florentine painter - 19th century figure painting - Virgin Child -
Located in Varmo, IT
Florentine painter (19th century) - Madonna with Child on a gold background. 77 x 58 cm. Oil on polylobed panel. Condition report: Good state of conservation of the pictorial surf...
Category

Late 19th Century Gothic Figurative Paintings

Materials

Panel, Oil

"Familia Huida" Icon painting of the Holy Family, Mary Christ Baby Joseph Angel
Located in Austin, TX
By Martha Ochoa, contemporary painter of Catholic religious icons that revive Renaissance and Latin American Colonial art. This painting ...
Category

21st Century and Contemporary Gothic Figurative Paintings

Materials

Canvas, Oil

Italian painting of Alphonsus Liguori in French Neo-Gothic Frame
Located in London, GB
Italian painting of Alphonsus Liguori in French Neo-Gothic Frame Italian and French, Late 18th and 19th Century Frame: Height 61cm, width 39cm, depth 6cm Panel: Height 28cm, width 22...
Category

Late 18th Century Gothic Figurative Paintings

Materials

Oil, Panel

Late 15th C, Tüchlein with Saint Egidius healing a Posessed Man
Located in brussel, BE
The work is a so-called ‘Tüchlein’; also referred to in the archives as ‘drap peint’ or ‘drap de peintre’. This term is used to denote paintings made with watercolor on canvas or panel. The technique is a product innovation from the 15th century and was intended to offer a cheaper alternative to the expensive woven tapestries. This way of working had advantages over panel painting. The painting went faster and the artist was also able to work in a larger format. Often several pieces of cloth were sewn together to get a large surface. The disadvantage was that the colors were duller than those of a panel painting. The Dutch text in Gothic script under the scene betrays that the painting was made in the Burgundian Netherlands. The Tüchlein is part of a series on the life of Saint Egidius, a saint of Greek origin who lived in the 8th century. The legend in old Dutch describes the scene: “Dar nar als hye over mer wolde vare(n) vnd sich gans van der werelt keren dvt schyff v(er)loyst … van des wreedes sturm vnd syner wirdynen kvnt van des kalden ..”. The text speaks of Egidius’ plan to sail away and the raising of a fierce storm. According to the legend, he saw how people almost died because of the storm. He would have muttered a prayer and the storm would have calmed down. One of the places in the Burgundian Netherlands where Saint Egidius was venerated, was Bruges. An archival document from 1486, more specifically an official report drawn up by order of the official of the Archdiocese of Reims, mentions that miracles and healings took place in the Saint-Gilles Church in Bruges when people touched the relics of Saint Egidius. It is quite conceivable that such situations gave rise to the commission of Tüchlein by church administrators. Since the canvas is executed in the style of early Netherlandish painting...
Category

15th Century and Earlier Gothic Figurative Paintings

Materials

Oil, Canvas

Late 15th C, Tüchlein with Saint Egidius in a Boat
Located in brussel, BE
The work is a so-called ‘Tüchlein’; also referred to in the archives as ‘drap peint’ or ‘drap de peintre’. This term is used to denote paintings made with watercolour on canvas. The technique is a product innovation from the 15th century and was intended to offer a cheaper alternative to the expensive woven tapestries. This way of working had advantages over panel painting. The painting went faster, and the artist was also able to work in a larger format. Often several pieces of cloth were sewn together to get a large surface. The disadvantage was that the colours were duller than those of a panel painting. Under the scene, the Dutch text in Gothic script under the scene betrays that the painting was made in the Burgundian Netherlands. The Tüchlein is part of a series on the life of Saint Egidius, a saint of Greek origin who lived in the 8th century. The legend in old Dutch describes the scene: “Dar nar als hye over mer wolde vare(n) vnd sich gans van der werelt keren dvt schyff v(er)loyst … van des wreedes sturm vnd syner wirdynen kvnt van des kalden ..”. The text speaks of Egidius’ plan to sail away and the raising of a fierce storm. According to the legend, he saw how people almost died because of the storm. He would have muttered a prayer, and the storm would have calmed down. One of the places in the Burgundian Netherlands where Saint Egidius was venerated, was Bruges. An archival document from 1486, more specifically an official report drawn up by order of the official of the Archdiocese of Reims, mentions that miracles and healings took place in the Saint-Gilles Church in Bruges when people touched the relics of Saint Egidius. It is quite conceivable that such situations gave rise to the commission of Tüchlein by church administrators. Since the canvas is executed in the style of early Netherlandish painting...
Category

15th Century and Earlier Gothic Figurative Paintings

Materials

Oil

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Christ, the Great High Priest. Greek-Italian style Icon with silver oklad
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Icon of Our Lady of Jerusalem. Egg tempera on gesso and over a wooden board. Dimensions in centimeters: 42 x 34 x 2 cm / In inches: 16.54 x 13-39 x 0-79 " Author: Oliver Samsinger...
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Virgin of Kataphyge and St. John, after a Byzantine Bulgarian Icon 14th Century
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Category

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"Interior Scene with Figure and Mantel" Post-Impressionism Oil Painting on Panel
Located in New York, NY
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English 19th century Victorian Antique portrait of a seated lady in her Interior
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Saint Nicolas in the style of Russian icons of the 18th century. With Oklad
Located in Segovia, ES
Icono of Saint Nicolas in the style of Russian icons of the 18th century. Egg tempera and gesso on wood, covered by a metal oklad made by the artist himself. The oklad, in principle, were made to cover damaged parts of highly revered ancient icons...
Category

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Materials

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The Virgin of Tijvin (after a Russian Icon in the style of the 18th century).
Located in Segovia, ES
The Virgin of Tijvin (after a Russian icon in the style of the 18th Century). Egg tempera and gold leaf on gesso over wood. Measurements in centimeters: 45 x 36.5 x 3 cm / In inch...
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Christ Pantocrator" After an Icon in the style of the Moscow School
Located in Segovia, ES
"Christ Pantocrator". After an Icon in the style of the Moscow school (15th century). Somewhat similar to that of Rublev. Author: Oliver Samsinguer Egg tempera and gold leaf on gesso and on wood. Dimensions; (H) 42 x (W) 33.5 x (D) 3.5 cm. (H) 16.54 x (W) 13.19 x (D) 1.38 in. This is how the artist sums up the technique used by him to create the icon: “The aim of these steps is to create a durable painting. The icon is eternal. The first step is to choose a support, traditionally made of wood, from the center of the trunk to avoid warping it. For this purpose, two hardwood bolts were often used on the back to give the picture panel additional stability. Often a frame is milled out. Then the image carrier is sanded smooth and now 12 or 14 thin layers of gesso are applied and sanded smooth as well. Then the preliminary drawing is applied and the drawing board is prepared with a special preparation called bolus. This bolus can be polished to a high gloss. Afterwards, the gold leaf is "shot" with special brushes. It dries up within a few hours and can now be polished with an agate. Gold leaf is real 24-carat gold . Now, the actual process of painting begins. Egg tempera is made fresh from egg yolk, water, and a little vinegar. This is used to prepare the color pigments. Tempera painting is done in numerous layers from dark to light. When the icon is finished, it is left to dry for a few months and varnished with a special varnish called Olifa made from boiled linseed oil and other ingredients”. ABOUT THE ARTIST Oliver Samsinger...
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"Birth of Christ" after a Russian icon of the 15th century. Oliver Samsinger
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Previously Available Items
Crucifixion, 15th century South Germany school, oil on gilt background
Located in PARIS, FR
Crucifixion, South Germany, 15th century, circa 1470-1480 Pine panel, oil and gold background Dimensions: h. 63 cm, w. 42 cm (24.8 in x 16.54 in) Our rare panel imbued with all the Gothic symbolism, presents one of the subjects that has become universal in Western art. The crucifixion of Jesus, recounted in all the gospels, is one of the episodes of the Passion of Christ. The contemplation of his death by the faithful is and has always been an intense devotional exercise. The suffering of Christ had to be made as realistic as possible by the artist, in order to move the spectators and create piety. Christ with his emaciated and collapsed body hangs on his cross. In an attitude of resignation and abandonment, his head crowned with thorns is leaned on his right shoulder, but the eyes still remain open under the eyebrows contracted by suffering. His wounds shed large drops of blood and clearly show how painful the torment he is enduring is. At the foot of the cross to her right, the Virgin swoons in the arms of Saint John out of compassion for the suffering of her Son. Behind them Saint Marie-Salomé with clenched hands and face twisted in pain looks at the Cross, near her another holy woman seen from behind. To his left, Joseph of Arimathea stands near the cross, his hand placed on the cross, like a gesture of protection to leave dignity to the dying. His face turned from the cross, a resigned look, suggests his complete helplessness in the face of Jesus' torture. Longinus the centurion carrying a spear and shield looks impassively before him, while another standard-bearer soldier contemplates the cross. The man who stands prominently in profile next to the cross of Christ and is highlighted by his rich clothes adorned with precious stones and his pointed hat with gold trim, is probably Levi, tax collector. This intimate scene with very tight framing, tightens the figures around the raised cross, the absence of landscape replaced here by a gold background which comes from the Italian pictorial tradition helps to reinforce the feeling of timelessness of the scene and of its sacred context, gold being assimilated to the divine world. Our work dates back to the last quarter of the 15th century; comparison with similar works (including dimensions) could suggest that it is an altarpiece element, typical of German art. The use of softwood allows us to establish the origin of our panel from southern Germany, Swabia or Bavaria. Related works: 1. Crucifixion, German School around 1470, oil on lime (57.5 cm x 31 cm), Dresden Old Masters Painting Gallery, inventory number: 1964 and 343 2. Crucifixion, around 1475 oil on lime 69 x 45.5 cm Stuttgart, National Museum of Württemberg, 3. Crucifixion, attributed to Wolfgang Katzheimer around 1480-1485, Forchheim, Catholic parish church of St. Martin 4. Crucifixion, around 1450, Schwabach, town church of St. John -et-Saint-Martin 5. Fainting of the Virgin and Christ on cross...
Category

15th Century and Earlier Gothic Figurative Paintings

Materials

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Antique 19thC. Italian Florentine Painted Gothic Renaissance Panels Olga Ciardi
Located in Portland, OR
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Mid-19th Century Gothic Figurative Paintings

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Painting, 19th century oil on panel, "Cathedral / Church" by J.B. Tetar v. Elven
Located in Berlin, DE
Painting, 19th century, oil on wood, "Brussels Cathedral / Church" by Jan Baptist Tetar Van Elven. Very fine painting. Dimensions with frame 35,3cm x 28,5cm. Age-related condition.
Category

19th Century Gothic Figurative Paintings

Materials

Wood, Oil

Gothic figurative paintings for sale on 1stDibs.

Find a wide variety of authentic Gothic figurative paintings available for sale on 1stDibs. Works in this style were very popular during the 21st Century and Contemporary, but contemporary artists have continued to produce works inspired by this movement. Many Pop art paintings were created by popular artists on 1stDibs, including and Martha Ochoa. Frequently made by artists working with Oil Paint, and Paint and other materials, all of these pieces for sale are unique and have attracted attention over the years. Not every interior allows for large Gothic figurative paintings, so small editions measuring 13 inches across are also available. Prices for figurative paintings made by famous or emerging artists can differ depending on medium, time period and other attributes. On 1stDibs, the price for these items starts at $2,195 and tops out at $35,589, while the average work sells for $9,814.

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