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Technique: Gilt
Original Antique Print of a Hummingbird, 1847
Located in St Annes, Lancashire
Great image of a hummingbird in a slightly distressed antique gilt frame. Lithograph after Cpt. brown with original hand color. Published, 1847. Free Uk shipping
Category

1840s English Folk Art Antique Gilt Decorative Art

Materials

Paper, Giltwood

Custom Framed Antique Swedish Herbarium Botanical Specimens
Located in Pearland, TX
Beautiful custom framed antique herbarium floral specimens, collected 1911-12. Handwritten Latin scientific in lovely script. Specimens include buttercup/St. Anthony's Turnip, bird's...
Category

1910s Swedish Vintage Gilt Decorative Art

Materials

Linen, Cut Glass, Wood, Giltwood

Custom Framed Antique Swedish Herbariums, Set of 4
Located in Pearland, TX
Beautiful custom framed antique Swedish herbarium floral specimens, collected circa 1911. Handwritten names in lovely Latin script. Specimens include zigzag clover, milkwort, and mor...
Category

1910s Swedish Vintage Gilt Decorative Art

Materials

Wood, Giltwood, Paper

Period Rectangular Giltwood Italian Salvator Rosa Style Frame
Located in Roma, IT
Salvator Rosa last 17th century giltwood frame. Internal measurements cm 24 x 32.5 Pure example of Italian Salvator Rosa gild wood frame of 17th century. "Salvator Rosa" is the famo...
Category

Late 17th Century Italian Baroque Antique Gilt Decorative Art

Materials

Wood

19th Century French Framed Cameo Collection with Gilt Accents
Located in Atlanta, GA
This exquisite 19th-century French framed collection of cameos presents a stunning display of classical artistry. The composition features an array of intricately detailed terracotta...
Category

19th Century French Neoclassical Antique Gilt Decorative Art

Materials

Metal

Charles Levier Painting "Clown Avec Un Oiseau"
Located in Miami, FL
A Captivating Vision: "Clown Avec Un Oiseau" by Charles Levier. This striking oil on canvas painting, titled "Clown Avec Un Oiseau" (Clown with a Bird) in French, is a captivating...
Category

Mid-20th Century American Mid-Century Modern Gilt Decorative Art

Materials

Paint, Wood

Art Deco 'Folies Bergeres' Large Hanging Wall Plaque, French
Located in Devon, England
This is a super rare opportunity to acquire one of these beautifully reduced versions of the facade bas-relief of the Folies-Bergeres cabaret by Maurice Picaud aka Pico (1900-1977). ...
Category

Early 2000s French Art Deco Gilt Decorative Art

Materials

Plaster

Custom Framed Antique Swedish Herbarium Botanical Specimens
Located in Pearland, TX
Beautiful custom framed antique herbarium floral specimens, collected 1911-1913. Handwritten Latin scientific in lovely script. Specimens include chive flowers, nettle, and cowslip. ...
Category

1910s Swedish Vintage Gilt Decorative Art

Materials

Linen, Cut Glass, Wood, Giltwood

Art Deco Large And Impressive Hand Crafted 'Bathing Ladies' Wall Plaque
Located in Devon, England
This is a super rare opportunity to acquire one of these beautifully reduced versions of 'bathing ladies' the original being located in the famous Paris ''HOTEL des Collectionneur. T...
Category

21st Century and Contemporary French Art Deco Gilt Decorative Art

Materials

Plaster

17th - 18th Century Portuguese Baroque Pine Wall Relief - Antique Décor Panel
Located in West Palm Beach, FL
An antique Portuguese wall relief or sopra porte made of Pinewood, in good condition. The Baroque wall panel was hand carved and is richly ornate wi...
Category

Late 17th Century Portuguese Baroque Antique Gilt Decorative Art

Materials

Pine, Giltwood

Antique Chinese Imperial Emperor Ancestral Painting on Silk
Located in Miami, FL
Imperial Majesty: 19th-Century Ming Dynasty Emperor Silk Painting This exquisite silk painting, dating back to the 19th century, depicts a majestic Ming Dynasty emperor in all his regalia. Hand-painted with meticulous detail and presented in a beautiful frame, this artwork showcases the rich tradition of Chinese silk painting. The vibrant colors and intricate brushwork capture the emperor's imperial stature and the grandeur of the Ming Dynasty. The painting's subject matter and artistic style make it a captivating addition to any collection. Dimensions: Framed measurements: 24 3/4" W x 31" H x 1 1/4" D Condition: Very good antique condition. This Antique Chinese Imperial Emperor Ancestral Painting...
Category

19th Century Chinese Ming Antique Gilt Decorative Art

Materials

Silk, Wood, Paint

Large & Impressive Oil on Canvas "Madonna & Child" After Murillo - V. Bianchini
By Bartolomé Esteban Murillo
Located in Los Angeles, CA
A Large and Impressive Early 20th Century Oil on Canvas "Madonna and Child" After Bartolomé Esteban Murillo (Spanish, 1618-1682) depicting a seated Virgin Mary with a baby Jesus Chri...
Category

1910s Italian Baroque Vintage Gilt Decorative Art

Materials

Canvas, Giltwood

Charles Joshua Chaplin 'French, 1825-1891' 'Girl with Bird's Nest' Oil on Canvas
By Charles Joshua Chaplin
Located in Los Angeles, CA
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...
Category

19th Century French Rococo Revival Antique Gilt Decorative Art

Materials

Canvas, Giltwood

Large Oil on Canvas "Beggar Boys Playing Dice" After Bartolomé Esteban Murrillo
By Bartolomé Esteban Murillo
Located in Los Angeles, CA
A fine and large 19th century oil on canvas after Bartolomé Esteban Murrillo's (Spanish, 1617-1682) "Beggar Boys Playing Dice" (The original work by Murillo was painted in 1675). The impressive artwork depicts two young boys playing dice while another eats a piece of fruit as his dog watches on., within an ornate gildwood and gesso frame bearing a label from the faming company Bigelow & Jordan. The original work by Murillo is currently at the Alte Pinakothek Museum in Munich, Germany. The present work is signed: L. Rüber. Circa: Munich, Late 19th Century. Bartolomé Esteban Murillo (born late December 1617, baptized January 1, 1618 – April 3, 1682) was a Spanish Baroque painter. Although he is best known for his religious works, Murillo also produced a considerable number of paintings of contemporary women and children. These lively, realist portraits of flower girls, street urchins, and beggars constitute an extensive and appealing record of the everyday life of his times. Murillo was born to Gaspar Esteban and María Pérez Murillo. He may have been born in Seville or in Pilas, a smaller Andalusian town. It is clear that he was baptized in Seville in 1618, the youngest son in a family of fourteen. His father was a barber and surgeon. His parents died when Murillo was still very young, and the artist was largely brought up by his aunt and uncle. Murillo began his art studies under Juan del Castillo in Seville. There he became familiar with Flemish painting and the "Treatise on Sacred Images" of Molanus (Ian van der Meulen or Molano). The great commercial importance of Seville at the time ensured that he was subject to influences from other regions. His first works were influenced by Zurbarán, Jusepe de Ribera and Alonzo Cano, and he shared their strongly realist approach. As his painting developed, his more important works evolved towards the polished style that suited the bourgeois and aristocratic tastes of the time, demonstrated especially in his Roman Catholic religious works. In 1642, at the age of 26, he moved to Madrid, where he most likely became familiar with the work of Velázquez, and would have seen the work of Venetian and Flemish masters in the royal collections; the rich colors and softly modeled forms of his subsequent work suggest these influences. In 1645 he returned to Seville and married Beatriz Cabrera y Villalobos, with whom he eventually had eleven children. In that year, he painted eleven canvases for the convent of St. Francisco el Grande in Seville. These works depicting the miracles of Franciscan saints vary between the Zurbaránesque tenebrism of the Ecstasy of St Francis and a softly luminous style (as in Death of St Clare...
Category

Late 19th Century German Baroque Antique Gilt Decorative Art

Materials

Gesso, Canvas, Wood

Mid-Century Modern Gilt Iron William Bowie Style Sunburst Wall Sculpture
Located in Stamford, CT
Impressive three tier gilt iron starburst wall mounted sculpture in the Brutalist style. Likely created by William Bowie, American circa 1970, though unsigned. Truly a living piece of sculpture, a Nova exploding perpetually on your wall. Check out the cool pic of Baba Ram Dass...
Category

Mid-20th Century American Brutalist Gilt Decorative Art

Materials

Iron

After Raffaello Sanzio 1483-1520 Raphael La Madonna della Seggiola Oil on Canvas
Located in Los Angeles, CA
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...
Category

Early 1900s Italian Baroque Antique Gilt Decorative Art

Materials

Canvas, Giltwood

Pair French 18th-19th Century Chinoiserie Circle of Jean B. Pillement
By Jean-Baptiste Pillement
Located in Los Angeles, CA
A fine pair of French 18th-19th century whimsical rococo style chinoiserie oil on canvas, circle of Jean-Baptiste Pillement. (French, 1728-1808). One oil painting depicting an outdoor patio scene of a standing young mother, holding a fan, with her three young children playing with a horse-toy, a parrot and a cat, all surrounded by flowers, plants, trees, planters and flanked by a dragon fountain...
Category

Late 18th Century French Chinoiserie Antique Gilt Decorative Art

Materials

Canvas, Giltwood

Multicolored Butterflies Framed with 18th Century Italian Fragments
Located in Dublin, Dalkey
Framed 'Mimoides Pausanias,' 'Dione Juno,' and 'Haetera Piera' butterflies with coordinating 18th century Italian fragments. The butterflies all share beautiful color and pattern com...
Category

18th Century Italian Rococo Antique Gilt Decorative Art

Materials

Gold Leaf

17th Century Spanish Colonial Cusco School Painting
Located in Middleburg, VA
A rare and evocative example of Spanish Colonial art from the Cusco School, this 17th-century oil on wood panel captures the iconic biblical scene of Sain...
Category

17th Century Peruvian Antique Gilt Decorative Art

Materials

Wood, Paint, Giltwood

Framed Collection of Four Herbier Specimens in Rustic Barn Wood w/ Gilt Rosettes
Located in New York, NY
This beautifully preserved collection features four 19th century botanical herbier specimens meticulously mounted in a rustic barn wood frame. Each specimen, carefully labeled with s...
Category

19th Century French Napoleon III Antique Gilt Decorative Art

Materials

Wood

Midcentury Modern Italian Impressionist Town Square
Located in Rio Vista, CA
Untitled mid-century modern Italian impressionist oil on board painting of a village or town square landscape. The painting features beautifully detailed b...
Category

20th Century Italian Mid-Century Modern Gilt Decorative Art

Materials

Wood

Framed Multicolored Butterflies with 18th Century Italian Fragments
Located in Dublin, Dalkey
Framed 'Panacea Prola,' 'Perrhybris Pamela,' and 'Doxocopa Laurentia' butterflies with coordinating 18th century Italian fragments. The butterflies all share beautiful color and patt...
Category

18th Century Italian Rococo Antique Gilt Decorative Art

Materials

Gold Leaf

circa 1910 Arts & Crafts Oak Wall Coat Rack, Beveled Mirror & Hand Painted Tiles
Located in Lisse, NL
Large size, great shape and excellent condition antique coat rack. If you are looking for a stylish and practical coat rack in the Arts & Crafts style then this period piece could be perfect for you. It is truly stylish, entirely original and, as you can see in our images, it is in very good condition. This quality antique is handcrafted from solid oak and it comes with the inlaid, hand painted and glazed tiles. These tiles are extra special, because on top of the glazing are unique, gilt and stylized flower motifs. This luxurious and colorful coat rack also comes with all the original and aesthetically beautiful hooks...
Category

Early 20th Century European Arts and Crafts Gilt Decorative Art

Materials

Majolica, Mirror, Oak

Venetian Canal Scene Set in Marbleized and Giltwood Frame
Located in Nashville, TN
Oil on board Venetian Canal Scene looking towards the mouth of The Grand Canal with Della Salute to one side . Typical in the Grand Tour style of 18th ,19th and 20th centuries ..
Category

Mid-20th Century Italian Baroque Gilt Decorative Art

Materials

Wood

18th-19th Century Oil on Canvas "The Triumph of Venice" After Paolo Veronese
By Paolo Veronese
Located in Los Angeles, CA
A very fine and Large Italian 18th-19th century oval-shaped oil on canvas titled "The Triumph of Venice" After the original work by Paolo Veronese (Venice, 1528-1588). The original of this painting hangs in the Palazzo Ducale, Venice. The 'Ricci' coloration suggests a late 17th-early 18th century date. In 1715 Charles de la Fosse advised Ricci to paint only "Veroneses and no more Riccis", Venice, circa 1800. Measures: Height: 45 1/4 inches (115 cm). Width: 29 inches (73.7 cm). Frame height: 58 1/4 inches (147.9 cm). Frame width: 43 1/4 inches (109.9 cm). Frame depth: 5 1/4 (13.3 cm). Provenance: Royal Academy of Scotland. Paolo Veronese (Born 1528, Verona, Republic of Venice - died April 9, 1588, Venice) was an Italian painter of the Renaissance in Venice, famous for paintings such as The Wedding at...
Category

Early 1800s Italian Renaissance Antique Gilt Decorative Art

Materials

Wood, Gesso, Canvas

19th Century Hand Colored Fruit Botanicals In Gilt Wood Frames, Group of 10
Located in Stamford, CT
19th century American framed still life depictions of fruit, set of 10. Group of 10 small framed still life depictions of fruit, to include: watercolor theorem depicting apples on a...
Category

Early 19th Century American Regency Antique Gilt Decorative Art

Materials

Giltwood, Paper

18th - 19th Century Swedish Gustavian Antique Gilded Pine Wall Glass Mirror
Located in West Palm Beach, FL
A late 18th Century, antique Swedish Gustavian rectangular wall mirror with its original mirrored glass and blue color paint, made of hand crafted gilded Pinewood, in good condition....
Category

Late 18th Century Swedish Gustavian Antique Gilt Decorative Art

Materials

Mirror, Pine, Giltwood

Gilt Antique Friezes from France
Located in Alessandria, Piemonte
Pair of antique golden friezes with olive branches. They are from the French Empire period and are perfect. ref. O/7147.
Category

Early 19th Century French Empire Antique Gilt Decorative Art

Materials

Fruitwood

Italian 19th Century Oil on Canvas "The Music Professor" Carlo Sassi
By Carlo Sassi
Located in Los Angeles, CA
Italian 19th century oil on canvas titled "The Music Professor" depicting a mid-19th century music-room scene of an elder man, the music professor, holding his violin, hat and umbrel...
Category

19th Century Italian Other Antique Gilt Decorative Art

Materials

Gesso, Canvas, Wood

After Raffaello Sanzio 1483-1520 Raphael La Madonna della Seggiola Oil on Canvas
Located in Los Angeles, CA
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...
Category

19th Century Italian Baroque Antique Gilt Decorative Art

Materials

Gesso, Canvas, Wood

After Raffaello Sanzio 1483-1520 Raphael La Madonna della Seggiola Oil on Canvas
Located in Los Angeles, CA
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 gilt wood 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. A retailer's label reads " Fred K/ Keer's Sons - Framers and Fine Art Dealers - 917 Broad St. Newark, N.J." - Another label from the gilder reads "Carlo Bartolini - Doratore e Verniciatori - Via Maggio 1924 - Firenze". Circa: 1890-1900. Subject: Religious painting Canvas diameter: 28 inches (71.1 cm) Frame height: 54 inches (137.2 cm) Frame width: 42 1/2 inches (108 cm) Frame depth: 5 1/2 inches (14 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...
Category

Early 1900s Italian Baroque Antique Gilt Decorative Art

Materials

Canvas, Giltwood

Small and Delicately Carved and Lacquered Giltwood Panel from France, 19th C.
Located in Dallas, TX
More information coming soon… Dating to the 1800s, this small French panel has delicate carvings that have been lacquered with gilding. The gilded elements form a wonderful foliate...
Category

19th Century French Antique Gilt Decorative Art

Materials

Wood, Giltwood, Lacquer

Miniature Mudejar Archway w Inlaid Frame, Inspired by the Alhambra, Spain c.1900
Located in Lisse, NL
This beautifully handcrafted wall piece pays tribute to the splendor of Andalusian architecture, echoing the intricate arches and decorative flourishes of the Alhambra in Granada. Made in early 20th-century Spain, it captures the spirit of Islamic Revival style with striking detail and artisan precision. At its center are three classic horseshoe arches, richly adorned with arabesques and supported by slender columns topped with finely worked capitals. A palette of soft reds, blues, and golds brings depth and warmth, further elevated by a rich burgundy velvet background. Surrounding the scene is a remarkable inlaid wooden frame, featuring delicate geometric patterns and flowing Arabic calligraphy — hallmarks of Neo-Mudejar design. This is not only a decorative object but a conversation piece, a rare combination of cultural history, architectural beauty, and fine craftsmanship. There are signs of restorations and some chipping to the plasterwork, mostly along the edges, but nothing that takes away from the overall beauty or structural integrity of the piece. Whether you're a lover of Islamic art, architectural miniatures, or simply looking for something rich in history and charm to add to your space, this piece brings timeless character and a story with it. A rare find with true soul. The large frame may have some minor losses and but this antique art work...
Category

Early 20th Century Spanish Moorish Gilt Decorative Art

Materials

Alabaster

Pair of Italian Friezes 18th Century Blue Painted Gilwood Wall Decorative Panels
Located in Milano, MI
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...
Category

18th Century and Earlier Italian Renaissance Antique Gilt Decorative Art

Materials

Gold Leaf

19th Century Italian Painted Wood Empire Folding Screen in Gilt Bronze Frame
Located in Firenze, IT
This one-of-a-kind antique Italian Empire Period folding screen is a masterpiece of early 19th-century craftsmanship, dating most likely from 1801 during the Republic of Lucca. Pain...
Category

Early 19th Century Italian Empire Antique Gilt Decorative Art

Materials

Bronze, Ormolu

Louis Vuitton Large LV Suitcase Artwork Print in Gilt Frame
Located in Haddonfield, NJ
Louis Vuitton Print from Paris, France framed in a vintage wooden Gold Leaf frame. The artwork features iconic Louis Vuitton words and letters artistically arranged. Similar piece ca...
Category

Mid-20th Century French Empire Gilt Decorative Art

Materials

Wood, Paint, Paper, Giltwood

17th - 18th Century Portuguese Pair of Antique Baroque Pine Wall Reliefs, Panels
Located in West Palm Beach, FL
An antique pair of Portuguese Baroque hand carved architectural wall reliefs, enhanced by richly ornate detailed scrolls, in good condition. Original painted patina with partial gilt...
Category

Late 17th Century Portuguese Baroque Antique Gilt Decorative Art

Materials

Pine

French Sunburst Flower Mirror Wall Decoration, Gilt Iron
Located in Barcelona, ES
One of a kind gilt iron sunflower wall mirror / wall sculpture, France, 1950s. This spectacular wall mirror has an eye-catching flower shaped design with Handcrafted in gilt iron. ...
Category

Mid-20th Century French Mid-Century Modern Gilt Decorative Art

Materials

Iron

18th C. Portrait of a Lawyer Circle of Jacques Aved French School Oil on Canvas
Located in West Hollywood, CA
18th C. Portrait of a Lawyer Circle of Jacques Aved French School Oil on Canvas . Circle of Jacques-Andre-Joseph-Camelot Aved Portrait of a lawyer 1702-1766 French school mid-18th c...
Category

18th Century French Antique Gilt Decorative Art

Materials

Canvas, Wood, Paint

Pietro Gabrini Large Oil on Canvas "Three Singing Italian Beauties on The Road"
Located in Los Angeles, CA
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 ...
Category

Late 19th Century Italian Baroque Revival Antique Gilt Decorative Art

Materials

Canvas, Wood

Gilt Framed 19th Century Needlepoint with Coral & Seashells
Located in Atlanta, GA
Gilt Framed 19th Century Needlepoint with Coral & Seashells, Blue Ground
Category

19th Century Antique Gilt Decorative Art

Materials

Wood

Antique Miniature Portrait of a Man Tempera Painting
Located in Malmö, SE
European Tempera hand-painting of a Man, not signed. Gilt Bronze Frame with original Glass cover. The frame is sealed. To be hanged. Sized: frame 8.2 cm x 5.6 cm x 6 mm deep / paint...
Category

1880s European Arts and Crafts Antique Gilt Decorative Art

Materials

Gold, Bronze

English Oil on Canvas Horse Portrait in Burl Walnut Gilt Frame, Signed. C. 1866
Located in Charleston, SC
English oil on canvas horse portrait in burl walnut giltwood and beaded molded edge frame. Signed & Dated by Artist "J. Brown Coventry 1866"
Category

1860s English William IV Antique Gilt Decorative Art

Materials

Canvas, Wood, Giltwood, Paint

Antique Italian Painted Hand Fan in a Glass Case
Located in Palm Beach, FL
Impressive 19th century Italian hand fan, remarkably preserved with silvered metal sticks and guards depicting ancient gods, palm trees and classical emblemes. The paper leaves are h...
Category

Mid-19th Century Italian Rococo Revival Antique Gilt Decorative Art

Materials

Metal

French Directoire Period Floral Painted Panel in Gilded Frame, circa 1790
Located in Atlanta, GA
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...
Category

Late 18th Century French Directoire Antique Gilt Decorative Art

Materials

Wood, Paint

Louis Vuitton Eiffel Tower Trunks Monogram Art Print in Gold Frame
Located in Haddonfield, NJ
Louis Vuitton Print from Paris, France framed in a vintage European gold leaf frame. Artwork features the iconic Louis Vuitton suitcases artistically formed in the shape of the Eiffe...
Category

Mid-20th Century French Empire Gilt Decorative Art

Materials

Wood, Giltwood, Paper

Early 19th Century Carved Chinese Sign
Located in Los Angeles, CA
Elaborately Carved and Finely Detailed Double Sided Gilded Chinese Sign that Announces the Mid Autumn Chinese Festival (a.k.a. Moon Cakes Festival).
Category

19th Century Chinese Antique Gilt Decorative Art

Materials

Mirror, Wood

1950s Spanish Folding Screen / Room Divider in Gilt Metal
Located in Barcelona, ES
Faux bamboo foliage folding screen, wrought iron, gold leaf, Spain, 1960s Eye-catching gilt metal three-panel folding screen or room divider with faux bamboo ironstructure and foliag...
Category

20th Century Spanish Mid-Century Modern Gilt Decorative Art

Materials

Metal, Iron, Gold Leaf

Coppia di Decorazioni da Parete Italiane Rococò 1750 Intaglio Fogliato e Dorato
Located in Milano, MI
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...
Category

Mid-18th Century Italian Rococo Antique Gilt Decorative Art

Materials

Gold Leaf

Impressive 18th Century Italian Carved, Gilded & Painted Wood Pediment Fragment
Located in Atlanta, GA
An Italian 18th century grand-scale gilded and painted wood pediment fragment. This antique architectural fragment from Italy has a greatly spanning ...
Category

18th Century Italian Antique Gilt Decorative Art

Materials

Wood, Giltwood

Chinese Lattice Framed Wall Art James Mont Hollywood Regency Era
Located in Chula Vista, CA
For your consideration, a framed art of lattice crown. Hand carved and finished with Gilt. Wood frame in red and gilt color. Stamp from the frame maker on the back. China circa the 1...
Category

1940s Chinese Hollywood Regency Vintage Gilt Decorative Art

Materials

Wood

German 19th Century Oil on Canvas Triptych of Cherubs by Ferdinand Wagner II
Located in Los Angeles, CA
Ferdinand Wagner II (German, 1847-1927) A very fine and charming triptych group of three oil on canvas laid on board titled "An Allegory to Spring" each panel depicting different playful and joyous scenes of putti and a cherubs reminiscent of spring, love and peace. The center panel depicting a seated putto, crowned with flowers, a standing putto behind him holding a sack of arrows and a seated cherub facing him next to a watchful peace dove on top resting of a flower bouquet. The left panel depicting a seated putto next to a standing putto with a freshly harvested apple. The right side panel depicting a standing cherub holding a fig branches with leaves. All three-in-one panels within individually carved giltwood frames. All panels signed at the lower left: Ferd. Wagner, circa 1890. 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...
Category

Late 19th Century German Rococo Revival Antique Gilt Decorative Art

Materials

Canvas, Wood

19th century Indian Seven Mughal Rulers Miniature Paintings
Located in Malmö, SE
Indian 19th century group of fine seven oval hand - painted miniature portraits of revered Mughal rulers and their royal wives. All individually set in narrow likely gilt Silver fram...
Category

1880s Indian Other Antique Gilt Decorative Art

Materials

Gold, Silver

18th Century Italian Gilt Tabernacle Door with Turquoise Baroque Pearls
Located in Dublin, Dalkey
18th century Italian gold gilded tabernacle door adorned with naturally forming baroque pearls. This door once belonged on a tabernacle which housed the eucharist in a church. In the...
Category

18th Century Italian Rococo Antique Gilt Decorative Art

Materials

Gold Leaf

After Fragonard French 19th Century Oil on Canvas Progress of Love-Lover Crowned
By (After) Jean-Honoré Fragonard
Located in Los Angeles, CA
A large French 19th century oil on canvas (laid down on a masonite) "Les progrès de l'amour dans le cœur d'une jeune fille" The Progress of Love: The Lover Crowned, after Jean-Honoré...
Category

19th Century French Rococo Antique Gilt Decorative Art

Materials

Masonite, Gesso, Canvas, Giltwood

French Gilt Bronze and Blue and White Jasperware Clock and Barometer Set
By Carcany & Robin
Located in London, GB
A fine quality clock and barometer set by Carcany and Robin, after models on exhibition in the Louvre Museum, Paris. In the Louis XVI manner, of banjo form, the cases being in cr...
Category

19th Century French Louis XVI Antique Gilt Decorative Art

Materials

Bronze

18th C. Set of 3 Etchings of Harbor Scenes in Gilt Frames
By Pieter Schenk the Elder, Pierre Mortier
Located in Haddonfield, NJ
A set of three antique Dutch engravings and etchings from the 18th Century. This set has been professionally framed in newer gilt frames and feature acid-free paper to protect these...
Category

18th Century Dutch Baroque Antique Gilt Decorative Art

Materials

Paper, Boxwood, Paint

18th Century Catholic Altar Front
Located in Brecht, BE
A rare find this 18th century Spanish altar front, original gilt on chestnut, hand painted, highly decorative wall art, different, genuine, love t...
Category

Mid-18th Century Spanish Antique Gilt Decorative Art

Materials

Chestnut

20th Century Asian Oversized Tropical Wood Buddha Head - Vintage Wall Sculpture
Located in West Palm Beach, FL
An oversized antique Asian Buddha head made of hand crafted tropical Hardwood and finished with gilded detailing, in good condition. This large scale wall mounted decorative sculptur...
Category

Early 20th Century Burmese Art Deco Gilt Decorative Art

Materials

Wood, Giltwood

A Study of Thomas Gainsborough's Portrait Of The Welsh Actress Sarah Siddons
Located in New Orleans, LA
A charming later Victorian textured canvas applied to wood, study of Thomas Gainsborough's three-quarter portrait of the Welsh actress Sarah Siddons, presented in a period Ebonized c...
Category

1890s English Late Victorian Antique Gilt Decorative Art

Materials

Canvas, Wood, Giltwood

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