Gesso Wall Decorations

Beautiful pair of Italian gesso giltwood wall display brackets. This hand carved Florentine corbels feature fluted details and an aged patinated finish. Each wall shelf is ready to...

An intriguing landscape study in textured medium and Ochre colours. Offered here is a particularly good example of Brutalist decorative art from the 1970s. In addition, the work is f...

Rafael Contreras (Spanish, 1824 - 1890) Alhambra Architectural Model Plaque, 19th century. A large and magnificent Hispano-Moresque Alhambra plaque by...

A lovely pair of vintage Italian giltwood and gesso wall brackets or shelves from Florence, Italy, circa 1950. These stylish brackets have a hand carved scrolling acanthus leaf desig...

Pair of Late 19th Century Italian Carved Giltwood Neoclassical Wall Brackets, Grand Tour Influences A finely carved and gilded pair of Italian neoclassical wall brackets, dating to ...

A beautiful antique oil painting, flower still life with roses in a basket, made by the Belgian female artist Célinge Genyn. It is an atmospheric painting that captures a quiet, tim...

Bay Bridge, San Francisco. An unusual original back lit picture printed on glass that has an electric light in a specially made Victorian style frame...

A pair of French Baroque style hand carved gesso and wood floral scroll design wall brackets featuring a scalloped gild painted shelving. This elegant...

Beautiful antique frame with a print of dancing Greek graces. The frame is made of wood, with refined carving and graceful curls. The wood is decorated with stucco and gilded with gold leaf. The print is also interesting, it is an antique print with beautiful gold print, depicting the dancing graces...

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...

A refined and luminous 19th century still life painting, attributed to Eugène Petit (1838–1886), a French painter celebrated for his exquisitely detailed floral compositions. Execute...

American portrait oil on canvas of a young ship captain holding a spyglass with a sailing ship, crew in rowboat, and gulls in lower background mounted in the original decorative gilt...

Pair of Italian Giltwood Shell Motif Wall Brackets, Attributed to Palladio, Circa 1960s A striking pair of Italian giltwood wall brackets or shelves, carved in bold relief with styl...

Mucha's Primrose poster is a true design masterpiece, showcasing a rich interplay of botanical and historical elements. The top border features opium poppies, while the second is lined with Cobea flowers, also known as the cup-and-saucer vine. The aureole surrounding the central figure is adorned with hollyhock blossoms. The female figure wears her hair in a low coiffure, and delicately holds a candelabra primrose to her nose, as if savoring its fragrance. In Mucha's Plume poster, an elegant woman with a high coiffure holds a goose quill and laurel branches. The aureole surrounding the central figure is based on the famous rose window of the Cathedral of Chartres. The shape of the quill and how she holds it is a reference to the holding of palm branches by saints in Christian icons of Saints. Instead of the meaning of martyrdom, Tiffany’s chosen virtues are more secular, the quill representing knowledge and the laurels a Greek symbol of poetry. The top border of the poster is similarly adorned with opium poppies, while the second border features anemones. Item #: ML-21626 Artist: Alphonse Mucha Country: France Circa: 1899 Dimensions: 29" height, 11.25" width (unframed) 38" height, 20" width (framed) Printer: Imp. F. Champenois, Paris (not shown) Materials: Lithograph paper, Giltwood gesso frame Signed: Mucha 99 Literature: Mucha/Art Nouveau, p. 198 Rennert/Weill, 64; Lendl/Prague, 219; Mucha/Art Nouveau, 51; PAI-XCII, 280 Macklowe Gallery Curator's Notes: Her elaborate headdress draws inspiration from Italian jewelry, specifically from the Lombard period (568–774) and the Early Renaissance (1400–1490). A striking ruby medallion...

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...

Discover Lynnea’s new Architectural Abstract series, where Agnes Martin–inspired shapes float gracefully across textured canvas boards. Each piece is thoughtfully layered with soulfu...

Light blue decorative wall panel with white and gold reliefs, handmade in Italy by Cupioli. Elegant decorative wall panel, made entirely by hand, inspired by the iconic Wedgwood cer...

An antique painting of a (probably) black terrier on a chair. It is signed and dated lower left, Charles Van Den Eycken, 1896. It is painted on ...

An antique still life oil painting with fruit, pear, apple, grapes and peeled mandarin. In the background a wine bottle. The painting is signe...

Manner of Titian (Tiziano Vecelli - Italian, 1485-1576) An Oil on Canvas "Sleeping Cupid" within a gilt and black decorated gesso frame. A label on reve...

An oil painting of two rustic dogs fighting over a piece of food. It is painted on an oak panel. Signed top left. The signature is a bit faded, it's a monogram J.S. by Joseph Stevens. He often signed with a monogram. In a gilded frame frame with gesso moldings. Dimensions frame: 41 x 47 cm Dimensions painting: 17 x 23 cm. Joseph Stevens is the older brother of the very well-known artist Alfred Stevens. In the book 'The Belgian Art Book' by J. de Geest, it is written that Joseph Stevens has given a new dimension to painting animals. Joseph Stevens is an early representative of realism and social art. While Eugene Verboeckhoven has royal dogs pose on a beautifully embroidered cushion, Joseph Stevens already has an eye for the dark side of animal existence: exploitation by man, who in turn is a victim of society. His first successful painting, Brussels in the morning, shows how miserable dogs and poor people suffer the same fate. In the Sandman, Stevens shows a joint effort of man and dog, in which the viewer cannot ignore the social conditions: exhausting labor at dawn in some suburb. The gray sky and monochromy of the suburb add to the sinister atmosphere. Joseph Stevens was one of the first artists to take the urban proletariat as his subject. Stevens enjoys a very high reputation in his Parisian years. His brother Alfred writes: 'I am of this time, but you, Joseph, you are of the race, and thus you are of all times.' French critics agree. Stevens' works are a source of inspiration for the literature of the time. For example, Beaudelaire writes a poem about Stevens' dogs. Joseph Edouard STEVENS. Belgium, 1819-1892 Stevens was a painter, etcher and engraver. Brother of the gifted painter Afred Stevens. Education at the Academy in Brussels (1834-1835). Debuted at the Salon in Brussels in 1842. Continued his career in Paris in 1852. He was primarily the painter of canvases depicting domestic animals (dogs, monkeys, horses), sometimes in curious, even idiosyncratic situations, and far from romanticism. This realism, of which he was one of the pioneers, earned him the interest of critics and intellectuals. His approach was defined by this contemporary realism that eschewed idealized depictions of animals as heroic emblems of nobility. Rather, Stevens emphasized the ordinary animals of everyday life, with a particular focus on working dogs, stray dogs and all of the mutts that wandered the streets of Brussels. Museums and public collections, including' Royal Museum of Fine Arts Brussels, Ghent, Hamburg, Paris, Musée du Louvre, Rouen, Musee des Beaux-Arts. Stuttgart, State Gallery. King Leopold...

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...

Beautiful antique painting, a fruit still life against a dark blue background. The painting is painted on canvas, the canvas is pasted on wo...

Set of four hand made and painted tiles professionally framed it wood frame , depicting caricatures from The Carnival of Venice. Which is annual festival held in Venice, Italy. The festival is world-famous for its elaborate masks. The celebration takes place over ten days in which people dress up and take part in organized parades or simple processions on the street. The costumes are seventeenth-century Venetian dresses.

Discover Lynnea’s new Architectural Abstract series, where Agnes Martin–inspired shapes float gracefully across textured canvas boards. Each piece is thoughtfully layered with soulfu...

Discover Lynnea’s new Architectural Abstract series, where Agnes Martin–inspired shapes float gracefully across textured canvas boards. Each piece is thoughtfully layered with soulfu...

An 18th century Italian Venetian-style wall mirror with original silvered patina.

Wonderful oval stipple engraving after James Gillray Showing the meeting of Colonel Gardiner with his daughters before the Battle of Prestonpans. Set against the background of sterl...

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...

Leopoldina Zanetti Borzino (Italian 1826-1902). Born in Venice, Leopoldina was the niece of Daniel Manin, a hero statesman, who would become the President of San Marco, a revolutiona...

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...

Adolf Constantin Baumgartner Stoiloff (Austrian/Russian, 1850-1924) a fine oil on board "Charging Cossack Warriors on Horseback" within an ornate giltwood frame, circa 1890 Born in 1850 in Linz (Austria) Stoiloff died in Vienna in 1924. According to a research of Russian literature, he studied in the 1880s at St. Petersburg Imperial Academy of Fine Arts. He was very well known for his Russian horse...

Melt Wall Décor GAWPI01 Echoing the sculptural fluidity of our Melt Entry Table, the Melt Wall Décor is a dynamic and elegant installation that brings movement and contrast to your ...

Raoul Morren, a self-taught artist and curator, explores a spectrum of artistic mediums, including collage, painting, photography, sculpture and video. Drawing profound inspiration f...

Black cat painting in chalk and acrylic on advertising cardboard. My friend the painter. Shipped in a wooden case Thank you

A lovely pair of vintage Italian gilded wood and gesso wall brackets shelves, circa 1950. These stunning brackets are decorated with scrolling leaves in a beautiful gilt patina. They...

Pair of American oil on canvas portraits in the original floral gilt frames and stretchers. South Carolina, Late 18th century. Signed Dr. Anthony Hemingway on re-verso.

Large contemporary wall mirror created by French artists Pascal & Annie LENIAU. The hand-sculpted “Octogone Vert Jade” mirror is a octogone sculptural composition. An original creati...

An important Egyptian sarcophagus mask from the Ptolemaic Period (711–332 B.C.), crafted with remarkable artistry and historical significance. Material: Made from stuccoed linen tex...

Raoul Morren, a self-taught artist and curator, explores a spectrum of artistic mediums, including collage, painting, photography, sculpture and video. Drawing profound inspiration f...

Monumental carved giltwood baroque wall bracket, with carved foliate scroll and putti motif. An unusually large wall bracket.  

An antique gouache (watercolor) painting of a basket with flowers, painted on paper. Signed right under; D. Seydlitz. Origin unclear, probably Belgium, around 1870-1880. In a gold leaf gilded frame...

The object in the image is an antique punch paper or lacework cross, likely from the 1870s, framed in an antique wooden frame, richly detailed, traditional American craftsmanship. C...

A fine Franco-German 19th century oil on canvas "Portrait of a Lady" depicting an 18th century young beauty posing with a profile gaze and cur...

Rare 18th century Italian gaming board "Nobilissimo Giuoco Della Mea" Or "The Nobel Game of Chance" in original paint and decoupage, (lacca povera) depicting a game which appears to be a board version of "Put and Take" with different characters representing either plus or minus points. Four corners with scalloped carved coin wells, the centre slightly dished for either a top or ball to roll within. Characters include: Scimmia/Monkey - put 6, Re/King - take 1, Vople/Wolf take 3 , Pascia/Lord - take two and so on. Other characters include, Cinese/Chinese, Colombo/Pidgeon, Crepascolo/Twilight, Armigero/Knight?, Gezelia/Gazelle, Adone/Adonis, Gonhiere/Gondolier, Araba Fenice/Arab Phoenix?, Vecchio/Old Man, Leone/Lion. A very similar game board is in the collection of the Medici Villa...

Francesco Peluso (Italian, 1836-1916) a fine Italian 19th-20th century oil on canvas "The Village Celebration" depicting a young couple of villagers dressed for Spring festivities and walking through a dirt road while playing musical instruments. The girl playing a tambourine and the boy a wooden noise maker...

Framed French Louis Vuitton Art Print in an Italian 19th Century Frame Louis Vuitton Print from Paris, France, framed in a one of a kind circ...

Giuseppe Pitto (Italian 1857 - 1928) is often known for his paintings depicting pretty women in Italian street markets. This exuberantly painted scene i...

Olive green Chinoiserie George III hanging corner cupboard dating to the late 18th century. In excellent condition. Original dark, olive green painted finish embellished with painted...

A very impressive 19th century oil on canvas painting of an English landscape in winter, depicting a frozen river to the centre and two men hunting to the side of the river, a church...

Francesco Ballesio (Italian, 1860-1923). A fine orientalist pencil and watercolor heightened with gum Arabic on paper figure of "A Middle-Eastern Beauty at Rest" depicting a young maiden resting on a Persian rug laid down as a bed while holding a tambourine and next to a Moroccan ivory-inlaid octagonal table with a tea pot on top. Signed and inscribed 'Ballesio Roma Tivoli' (upper right). All within an ornate rococo gilt wood and gesso carved frame with a protective glass, Rome, circa 1890-1900, Frame height: 23 inches (58.4 cm). Frame width: 30 1/2 inches (30.5 cm). Frame depth: 2 1/4 inches (5.7 cm). Paper height: 15 inches (38.1 cm). Paper width: 21 1/2 inches (54.7 cm). Literature: A similar subject matter watercolor is catalogued and illustrated in Caroline Juler, "Les Orientalistes...

A fine French 19th century oil on artist panel titled "The Bather and her Maid" after François Lemoyne (1688-1737) depicting a standing nude maiden being assisted by her maid, within an ornate giltwood and gesso carved frame, Paris, circa 1860-1870. François Lemoyne or François Le Moine or Le Moyne...

"Horses Running", a bold abstract impressionist oil painting with heavy impasto. By Sheila Hedricks. Signed. Oil on board. In a per...

Infuse your home with the architectural elegance of this stunning pair of vintage Italian-style wall brackets. Masterfully hand-carved from wood, each corbel features classic Neoclas...

Circa late 18th to early 19th century Oil on canvas / Framed This charming antique oil painting depicts Archangel Michael, the heavenly warrior and defender of the faithful, standin...

Marie Philips-Weber (German, 1845-1942) oil on canvas "Reading a Book" depicting a young maiden reading a book, within an ornate gilt and gesso frame. Signed: M. Weber Philips (l/r),...

Raoul Morren, a self-taught artist and curator, explores a spectrum of artistic mediums, including collage, painting, photography, sculpture and video. Drawing profound inspiration f...

American gilt carved wood and gesso Eagle with extended wings perched on decorative acanthus floral motif, Early 19th century.  

Attributed to Charles Edward Hallé (British, 1846-1914) "Mother and Child" oil on canvas. The Victorian era artwork depicting a young mother holding her joyful infant child, within a carved gildwood and gesso frame. (Relined). Signed (l/r): C.E. Hallé, circa 1870. Charles Edward Hallé (British, 1846-1914) Born in Paris, the son of Sir Charles Hallé...

Uncover a dramatic masterpiece with this Vintage Original Figurative Oil Painting on Canvas, a captivating work of art steeped in historical allure. This extraordinary piece presents...