Giltwood Decorative Art

Fine and rare pair of antique Dutch Verre Églomisé reverse oil paintings on glass panels - featuring moody landscapes with a castle and church, having ...

1940's Oil Painting on Canvas of Rural Scene. Rural scene oil painting on canvas in a gilt wooden frame.

1920's oil painting on board of landscape. Landscape oil painting on board with a liner and gilt wooden frame.

Art Deco painting in oil on canvas illustrating a young nude woman, pensive, half lying down, in front and the face resting on her right hand. Her skin is clear and she wears a short hairstyle in the fashion of the 30s. A certain light emanates from this work which takes up a classic theme of Western art: the female nude. This Art Deco painting is not signed but can be linked to the work of the French...

Large KPM porcelain plaque after Louis Gallait German, Late 19th Century Frame: height 53cm, width 48cm, depth 6cm Plaque: height 40cm, width 35cm Signed ...

On offer is a matching pair of embroidered silk civil rank badge panels (known in Chinese as Buzi) in black lacquer frames. The panels feature a black background within a scrolling floral border. In the center, it showcases a winged paradise fly catcher...

Wonderful color and patina. Perfect to fill a tall narrow space. This is a fragment from a larger panel. Framed.

A Fine Italian 19th Century Oil Painting on Canvas "La Madonna della Seggiola" after Raphael (Raffaello Sanzio da Urbino 1483-1520). The circular painted canvas depicting a seated Madonna holding an infant Jesus Christ next to a child Saint John the Baptist, all within a massive carved two-tone gilt wood, gilt-patinated and gesso frame, 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 Painting diameter: 28 inches (71.1 cm) Frame height: 55 1/8 inches (140 cm) Frame width: 46 inches (116.8 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...

1960's Oil Painting on Canvas "Fall Reflections". Oil painting on Canvas in a gilt wooden frame.

An exquisitely detailed and evocative 1883 neoclassical oil painting on canvas by English-American artist George Vaughan Curtis depicting a s...

Napoleon III style, sometimes referred to as The Second Empire style, was greatly influenced by the Neoclassical aspects of the Louis XVI period. This giltwood barometer from Paris w...

Philippe Andrianne Oil Painting on Canvas in a Gilt Frame. Oil painting on canvas with a liner and gilt wooden frame.

19th Century signed Dutch Master painting oil on canvas of mother and child. This wonderful piece is visually stunning. The artist uses trad...

A set of two Japanese paintings, each with a hand gilt background depicting a Japanese Magnolia painted sans traverse across the two panels. The originals Japanese, circa 1900. Di...

This painting is a copy of the "Gallant Shepherd" painted by François Boucher for the audience room of Prince Hercule-Mériadec, Duke of Rohan, on the first floor of the Hôtel de Soub...

Folk Art exhibition sign, reverse painted glass with reserved text backed in gold and silver crinkled foil reading "Exhibition / of / Paintings / on / Glass / By Edgar F. Curtis" E...

An exceptional and extremely decorative Italian early 19th century Louis XVI st. giltwood decorative wall decor. The wall decor is centered by a beautiful richly carved tied blooming...

Original acrylic abstract painting on board with a gilded wood frame, by American listed artist Rick Orr. Measurements with frame: 17.5” Wide, 21.5” High, 1.5” Deep.

An exceptional and most decorative Austrian 19th century patinated bronze, giltwood and Ebony wall plaque signed K. Sterrer. The striking wall decor is centered by the wonderfully executed patinated bronze plaque depicting a handsome sculptor in his atelier draped in a flowing garment working on a bust of a woman resting on a stool while holding his hammer and chisel. He is standing on a wall bracket like element with an impressive open winged eagle above an acorn finial, a tied carpenter's square and a tied bell hammer with a caliper and fine foliate branches at his feet. In the background is a beautiful maiden also draped in a wonderful flowing garment siting with her legs crossed on the plinth of a capital where another maiden, possibly a statue, is standing with a globe and sextant in her hand with plaques, busts, wings and curtains above. The plaque is set within an elegant mottled giltwood frame with beautiful richly carved wrap around berried laurel bands with a fine angled ebonized Fruitwood border. All original gilt and patina throughout. Karl Sterrer...

Mid Century Oil Painting on Canvas. Oil painting on canvas framed with a liner and gilt wooden frame.

Very large Sèvres porcelain plaque by Pastier after Jean-Baptiste Greuze French, 1853 Frame: height 71cm, width 89cm, depth 9cm Plaque: hei...

A stunning and extremely decorative complete set of four Italian 19th century Florentine st. Pietra Dura marble and giltwood wall plaques. Each w...

Giltwood Framed Limoges Enamel after François Boucher 'The Bird Catchers' France, Circa 1880s Framed in an elaborate hand carved pierced and giltwood t...

Oil Painting on Artist Pallet. Framed oil painting on artist pallet.

A very fine and large 19th century Louis XV style Whimsical Neoclassical Revival style Oil on Canvas "The Triumph of Flora" attributed to Ferdinand Wagner II (German, 1847-1927), school of François Boucher (French, 1703-1770). The impressive artwork depicting a semi-nude Flora hovering through the clouds surrounded by playful cupids, cherubs, love doves and a seated maiden, within white and grey clouds, offering her Spring flower bouquets and floral wreaths, within a banded giltwood frame. Note: Previously used as a ceiling painting. Unsigned, Circa 1870. Measures: Canvas height: 91 3/4 inches (233 cm) Canvas width: 59 inches (150 cm) Frame height: 61 3/8 inches (155.9 cm) Frame width: 93 1/2 inches (237.5 cm) Depth: 2 3/8 inches (6 cm) Ferdinand Wagner II (German, 1847-1927) was the son of Passau Ferdinand Wagner Senior, a teacher at a vocational art school who began training him professionally at a young age. After traveling to Italy in 1867-1868, he continued with his art studies at The Munich Academy of Arts led by Peter Von Cornelius and Julius Schnorr Von Carolsfeld...

A Collection of Framed Victorian Prattware Pots Lids This highly decorative large finely framed collection of Victorian Prattware pot lids repr...

Serpent & Galleon, Ink on Paper, in an 18th Century GiltWood Frame.

A hand-colored aquatint engraving dated January 1, 1825 and engraved by T. Sutherland, London. Titled "South Sea Whale Fishery", after a painting by Will...

Charles Joshua Chaplin (French, 1825-1891) 'The Bird's Nest' A very fine and charming Rococo revival style oil on canvas depicting a young girl, dressed in 18th century costume and r...

Decorate a bedroom wall with this colorful, antique Aubusson drawing cartoon. Created in the city of Aubusson, France circa 1820, the simple and elegant gouache on paper is hand pain...

19th Century antique wood-carved and gilt wall mirror. The glass flanked with carved floral and scroll motif. With tassel pediment scrolls and flower heads.

Featured in the book A Savannah Experience, by Myrtle Jones, this large pastel painting is one of the artist's finest paintings. Acrylic on canv...

An eye catching classic Hermes silk scarf shown in an elegant custom gilt wood frame. Makes a graphic luxurious piece of art. The scarf is...

A rare pair of Flemish 18th century "Verre Églomisé" Reverse Glass Paintings, each depicting riverfront scenes with figures, fishermen castles, co...

For sale a charming European late 18th, early 19th Century Georgian/Regency era oil on board portrait painting of a youthful person, possibly a scholar, believed to have been painted...

Embossed pewter plated paper panel elegantly mounted and framed in a silver gilt wood frame. Label on verso "E. G. Cody Pewter Plate Series" One owner. Extremely clean.

A fine 19th Century engraving print by Auguste Brouet housed in a period gilt wood frame. This fine print was issued by the Louvre Museum in Paris, France. Measures: 1" Deep x 19" Wide x 19" High Auguste Brouet (1872–1941) was a French etcher and book illustrator. Auguste Brouet was born and raised in a poor family in the popular north-east quarters of Paris and in Les Lilas, in the near suburbs. While apprenticed to a lithographer, he struggled for artistic education through the evening drawing classes of Eugène Quignolot (1858-1918), also briefly attending Gustave Moreau's atelier. Starting from around 1895 he would make a living by working for fashionable artists and also crafting reproductive etchings in color, in the workshop of Eugène Delâtre...

Decorate a dining room or living room with this elegant pair of antique wall carvings. Hand carved in Italy circa 1970 and almost 3 feet tall, eac...

An elegant and most decorative set of twelve Italian 19th century Neo-Classical prints set in a giltwood frame. Each beautiful print displays wonderfully executed Greek and Neo-Class...

A very decorative lithograph pencil signed and numbered by Eugène Delécluse (1882 - 1972), French. About the artist: Born in Paris, studied with Cormon, Delance, E. Renard,...

A most elegant 18th-century wall panel of hand-painted Asian silk of colorful branches filled with exotic flowers amidst birds and butterflies. The panel is fitted within an Italian ...

An antique pair of French Baroque painted and partial, gilt carved architectural elements or wall panels, in good condition. These ornaments are very ornate and decorated with large ...

A wonderful reverse painted glass image. The image of a 17th C. female is wonderfully done and in very nice colors. The Frame is gilt and the image sits back, creating a shadow affec...

Hamilton Hamilton (American, 1847-1928) A large and impressive oil on canvas "Othello and Desdemona" after the William Shakespeare's play "Othe...

A beautiful and most decorative true pair of Italian Louis XVI st. carved giltwood wall decor. Each decorative element is centered by a charming bo...

A pair of French reverse glass paintings or cartoons, each of oval form, one depicting a man with a mass of hair or full wig using a brush to fence with a woman wielding a broom, the...

A fine and large French 19th century old master school oil on canvas titled "Leda and The Swan" within a giltwood frame. Leda and the swan is a motif from Greek mythology, in which Z...

This detailed KPM porcelain plaque features a painting of Franz Joseph and is beautifully accentuated by a wide ornate antique giltwood frame. The porcelain circle measures seven and...

French Large Orientalist Painting, Signed "JH Naets", on the lower, right-hand corner. Oil on Canvas, 19th-Century, beautifully framed. ...

On offer is a set of five Japanese textile art panels called Oshi-E circa Meiji Period (1868-1912). This usual set of panels depict various aspects of daily life in Edo time with beautiful details. Some of these panels are snapshots of the buzzling commercial activities at the marketplace, providing insight into the signages, architecture, costumes and how people interacted within a historical and pictorial context. Other panels depict daily leisure activities such as lounging in the park or visiting friends. The realistic rendering and attention to details are not short of "photographic" quality. From the signage of the shops to the motions and attires of the individual characters, from the hairstyle, small ornaments, down to the facial expression, were all recorded in great details. Each panel was signed with the artist's name Yukihana in Kanji with a red seal. These panels are unframed and await your custom touch (framing with inner gilt spacer and mat costs about 250-500 depending on the material chosen, see a framed example in the last picture of a single framed panel we have for sale). We offer them for sale individually, but it will be great for a collector to consider the whole set so that they can stay together. The Oshi-E (also known as kiritori zaiku) is a type of ornamental textile art dated back to the Muromachi period (1392-1573). It started among the elite aristocratic women in Kyoto before spreading wider in the Japanese society. Throughout Edo and Meiji period, Oshi-E were sometimes used to make offerings to the altars in the temple and in the late 19th century, it was exported to the west along with the other embroidery textile art. Oshi-E was made by using silk wadding to create a relief design. Various silk fabric swaps and sometimes wires and tassels, often recycled from older kimonos...

A fine and large French 19th century oil on canvas "Mother and Child Crossing a Creek" by Alexandre Jacques Chantron (French 1842-1918). The impressive and finely executed artwork depicting a young joyous mother holding her child...

A Palatial and Opulent Belle epoque giltwood & oil on canvas three-panel screen, circa 1890. "Allegory of Youth" Comprising of three exquisite hand-painted triptych oil on canvas panels of cherubs and putti amongst a peacock, all by Ferdinand Wagner II (German, 1847-1927). Each panel depicting different playful and joyous scenes of putti and cherubs. All three-in-one panels within individually carved giltwood and upholstered frames. One panel signed at the lower left: Ferd.Wagner. A truly magnificent and one of a kind piece, perfect for any room in the home. Overall: 101" high 85" wide x 5" deep Very good condition. Ready to place. Ferdinand Wagner II (German, 1847-1927) was the son of Passau Ferdinand Wagner Senior, a teacher at a vocational art school who began training him professionally at a young age. After traveling to Italy in 1867-1868, he continued with his art studies at The Munich Academy of Arts led by Peter Von Cornelius and Julius Schnorr Von Carolsfeld. Wagner II was influenced by the Munich School of master painters and by his art teacher, Karl von Piloty, who had been teaching at the Munich Art Academy since 1856. Piloty’s approach to historical paintings was influenced by the French art academic Paul Delaroche and by the fine artworks by Rubens and the Venetians. After his return to Germany he was commissioned to decorate the former the Tenormayer Wine Tavern in Munich, subsequently he received numerous other commissions as a decorator. Ferdinand Wagner II wall paintings and ceiling frescos...

Portrait of Friel, Dog of the Dukes of Osuna, by Marcos Hiràldez Di Acosta, 1879 Splendid large signed painting made by Marcos Hiráldez De Aco...

Eugène Galien-Laloue (1854-1941) "Theatre du Chatelet" watercolor and gouache on paper signed 'E Galien Laloue' lower left, within a giltwood and gesso c...

French neoclassical Architectural landscape, oil on canvas In the manner of the Grand Tour, exceptionnal, glowing painting. Beautiful size, scale and quality of the subject an...

Very Large Louis XVI Style Giltwood Frame with Decorative Carved Designs, Early 20th Century. Fantastic frame that could be use as is to be a piece of art on the wall or add a paint...

English Genre Romantic landscape oil painting in Newcomb-Macklin Frame. This beautiful large painting, ca.1900, defines Great British landscape art. It depicts ordinary activities...

Antique Italian carved and giltwood sunburst element. Circa 1900. Perfect for today's transitional designs!