Gilt Decorative Art

A neoclassical painted and gilded overdoor panel in the manner of Giuseppe Maria Bonzanigo, circa 1790.

18th Century Russian Orthodox icon of the prophet Zachariah painted on an ornate solid slab of wood with an incorporated gold gilded frame that has been c...

An unusual pair of large romantic capriccio landscapes, inspiration of French School ( Fragonard , Boucher, , Hubert Robert etc ) .of large scale depicting genre scenes , frolicking ...

Splendid plaque in gilded stucco with pure gold leaf. The plaque depicts the Madonna with the baby Jesus, according to typical Renaissance iconography. The craftsmanship and attentio...

A superb late 19th Century picture of a young Jesus Christ in its original gilt timber frame. Hand-painted on porcelain the wonderful image is signed 'Wagner' which leads us to belie...

Selection of Mid-Century Modern Pietra Dura plaques, attributed to Richard Blow for Montici or Ugolini, unsigned, Italy, circa 1950s. They are: 1) I...

An exceptional Grand Tour souvenir in the form of a painted miniature copy of Raphael's famed self portrait, rendered on porcelain and framed in an elaborately carved and gilded timb...

A French Directoire period framed painted panel from the late 18th century, with floral motifs. Born in France during the later years of the 18th century, this exquisite decorative p...

A stunning piece of decorative art by Edna Hibel featuring a young girl dressed in a traditional Japanese kimono. Edna Hibel: 1917-2015. Well listed important American artist. Most...

The Folies Bergere Serpentine Dancer. Gilded stucco, signed and dated 1969 on the back by Maurice (Pico) Picaud (1900-1977). 66x44 cm (26x17 inches) with wooden frame. Original Stuc...

IDA COLUCCI (1894-1982) Abstract, cubist collage by Ida Colucci, signed by hand Freestanding on black cardboard, handmade frame with white gold overlay, anti-reflective glass. Ida...

I am offering you this exquisite set of twelve Royal Doulton museum quality plates artist signed E. Wood. Each plate is painted beautifully with different bouquets of flowers with ra...

Charles Levier Woman Seated by the Corsican Sea, A Masterful Oil Painting This large oil on canvas masterpiece by Charles Levier invites you into a world of artistic wonder. Picture...

Louis XVI period giltwood barometer, 18th Century. An 18th century carved and gilded wood barometer, Louis XVI period. h: 100cm, w: 40cm, d: 4cm

Female subject in stamped porcelain partially enamelled with fine gold. Frame in lacquered wood. Very good condition with the exception of a break probably dating from the origin - ...

Wedgwood made a series of twelve hand-painted creamware dishes, featuring characters from Skaespeare's plays. We're not sure how many sets were made,...

18th century Italian gold leaf fragment with "angel wing" shells and baroque pearls and mounted on stretch canvas as a sculptural wall piece. The natural-forming gold baroque pearl...

Elaborately Carved and Finely Detailed Double Sided Gilded Chinese Sign that Announces the Mid Autumn Chinese Festival (a.k.a. Moon Cakes Festival).

Set of five German Engraved and parcel Gilt Mirror Panels, Each engraved mirrored panel portrays a different character with hand painting and gilt detailing.

The colors and hue of this decorative Limoges Coronet plate are stunning. Coronet Limoges is linked to porcelain ware manufactured in Europe and decora...

A lovely 19th century English school watercolor on paper of "a garden pergola" rendered in beautiful colors of brick, green, tan and grey. Presented in a gilded gesso and wood frame.

Two original English watercolor/drawings circa 1854,1855, Ellen Dumbleton, from her sketchbook, Humble House and Summer house, Hall Grove. Beautifully pr...

18th century Italian gilded base with a polished green lava glass point and adorned with green mother of pearl with gold highlights and mounted on an antique metal crown base. The g...

17th century Italian hand-painted ecclesiastical architectural element adorned with carnelian pebbles, gold-plated crystals, blue and yellow raw agate, and b...

Sculptural 18th century Italian gilded fragment artifact with phantom quartz and mounted on raw agate. The piece originally comes from a historical church ...

Various brands including one with a collie, one with a horse, an eagle (Turkish), cows (Turkish), birds (Egyptian Deities, and others). A large one at top for La Reclama, Havana Ciga...

Multicolored and gilt bands of different types. Including some Egyptian, Habana and Turkish (upper right ones with a steam ship and a river landscape). Mounted on white linen in a gi...

Late 20th century decorative wall ornament Gucci letters made in golden brass from one of their retail store By: Gucci Material: brass, copper, metal, zi...

Dimensions: Height: 9 1/4 in Width: 5 3/4 in Depth: 3/4 in This vintage pair of Pietra Dura framed plaques is bound to bring a sense of sophisticat...

18th century Italian gilded and hand-carved wood tabernacle door with natural forming baroque pearls and tangerine quartz crystal points. This door once belonged on a tabernacle whic...

Pair of Vintage Wall Ornaments made of carved and gilded wood. Interesting accessories for a vintage home, especially in the hall or near a mantel.

Coppia di Fregi Dorati Italiani 1750 circa Intaglio Rococò a Volute, dorate in foglia d'oro su una preparazione di bolo rosso armeno. Sono molto probabilmete cimase di specchiere a...

An antique Victorian needlework panel offers countryside scene with mother and daughter, seated in giltwood frame, signed Rudy Grovner, Circa 1900 Measures- 18.25''H x 22.25''W x 2...

A circa 1960's patinated metal leaves decoration. Measurements: Height: 75" Width: 33" Depth: 12"

A fine pair framed silk Stevengraphs, one titled The Present Time and the other The Good Old Days, by Thomas Stevens and dating from 1875. The rectangular silk sewn panels portray t...

Pair of 1700s Italian Wall Decorative Panels, a pair of blue laquer vertical frieze dating back to late 18th century, with a stunning  hand-carved gilded relief  candelabra decoratio...

Virgen of the Lamb, French Limoges Enamel Portrait Plaque 1910s

Ignis Wall Art Piece, Contemporary Collection, Handcrafted in Portugal - Europe by Greenapple. The Ignis modern wall decor is inspired by the inner fire that fuels love and passion,...

A antique Chinese Qing Dynasty period "Honor Reward" calligraphy sign board. The wood carved signboard showcases Chinese characters with gold leaf on a blue lacquered background pane...

Painting of a stylized oriental camel by Fabbriziani and Calandra from the 1970-ies Italy. On satin in a kind of silkscreen in limited edition, wooden frame gilded. The black camel i...

An epically scaled and immaculately executed 1981 framed serigraph of “Twin Sisters” by Erté, hand-signed and numbered by the artist. A strikingly beau...

Gilt Framed 19th Century Needlepoint with Coral & Seashells, Blue Ground

Step back in time with our Late 19th Century painting, a treasure in good condition and a testament to the artistry of the past. Signed in the bottom corner, this piece carries the a...

Two gilt framed Gothic Angels framed and painted in the style of Fra Angelico - hand-carved in Italy in 1890. These are in excellent condition with littl...

18th century Italian gilded church tablet adorned with faceted diamante stones. It reads, "Tabella dei Signori Amministratori del Santissimo Sacramento" which means, "Table of the Lo...

Signed and dated 1971 lower left. A lush blooming pink rhododendron bush in a garden in Roches Point, Ontario Canada in August. Its flowers and shiny leaves are illuminated by sunlig...

Unsigned, from the estate of the artist. A luminous view of a church steeple with bells against a golden and rose tone sky as dawn breaks. The gray sky is gradually iightening with b...

Unsigned, from the estate of the artist. A rustic landscape with a snowfall on a snow covered lake and purple hills in the background. Two pine trees frame the scene in the foregrou...

Extraordinary Japanese large contemporary framed porcelain panels artwork in three pieces intricately hand painted showcasing a wintry scene of a gracefully shaped aged snow covered ...

Serigraph depicting a still lie with colorful pottery and flowers. Pencil signed lower right, numbered AP 24/70 lower left. A table set with colorful decorated pottery and lovely fl...

Signed, labeled and dated August, 1973 on verso. A sunny summer day featuring the garden of the artist in golden tones with flowers planted along a fence along with two trees. A thic...

Oil painting on masonite or board. Signed lower right. A charming country scene of a house in winter with a fence and bluish-white snow covered yard. Tall brown-green tress frame the...

O/1886-1 -That's a beautiful gilded wood frame, perfect both for painting and for mirror. Not little, not large. Fair good price.

Unsigned, from the estate of the artist. A large painting of a magnolia tree blooming in the spring with its gorgeous pink and white cupped flow...

John Haanstra (Dutch, b. 1940), signed and dated 1985 on lower right. A charming oil painting, showing a winter landscape. Skaters are enjoying seasonal fun on a frozen canal while others go about their daily activities. A typical Dutch windmill can be seen in the background. Typical Dutch style housing can be seen in the foreground. The sky seems to be laden with more snow, creating the sense of more winter fun...

A collection of various multi-colored and gilt cigar bands all with portrait heads. Including- Franz Joseph I, and other rulers. Along with a serrated round label with a bust in prof...

Unsigned. Ca. mid-19th c. portrait of a lovely seated lady wearing a black dress with a fine broad lace collar, a sign of her high status in socie...

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...