Giltwood Wall Decorations

A red-yellow, antique French still life oil on canvas painting depicting a working table with a dark-blue vase with flowers, painted by Eugène Henri Cauchois in a hand carved, origin...

English Georgian style (18/19th Century) large gilt wall carving of unicorn and lion with coat of arms.

EUGENE VERBOECKHOVEN Belgian, 1798-1881 Barn Interior with Sheep and Chickens (1873) Oil on canvas reverse of canvas signed and dated signed lower right "E. Verboeckhoven" stock...

A late 19th Century French School still life in the style of Fantin-Latour. A well-executed Impressionist style oil on canvas depicting detailed objects of an opulent household: a ceramic basket weave bowl of apples, a lady's fan propping open a small book, next to a gold lournette on a pink beaded chain. In the background is a tall pewter candlestick...

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...

Fine quality early 20th century oil on board of a Herd of sheep in a landscape pasture. Signed and dated 1916 by D.H. Winder. Daniel H Winder (1870 - c.1920) was active/lived in Uni...

An Italian oil on canvas still life painting from the 19th century depicting fruits in front of a column and an open sky, in giltwood frame. Created in Italy during the 19th century,...

An antique matching set of deep set first finish giltwood frames having foliate decoration and housing portrait prints of young children, signed and numbered, 19th century. Measures...

The mirror is made by F.C Mailand Hansen, a well known glazier from Copenhagen, Denmark. The mirror is dated to between 1900-1910. It is in neoclassical Revival style, and has an ama...

Lovely Georgian giltwood picture frame Carved pine with shallow gesso and gilt Original patina Internally or sight measures 19.25 x 24 inches. 48.5 x 61 cm Free UK shipping

Pair of Hand Painted Wood Chinoiserie Panels in White Gold Giltwood Frames

Maxfield Parrish Iconic Art Deco Original 1923 Print "Daybreak" Offered for sale in an original Maxfield Parrish iconic American art deco framed 1923 print...

Antique Vanitas Oil Painting, Antique Memento Mori Oil Painting, Antique Skull Oil Painting, Gothic Antique Painting, 19th Century Vanitas Still Life Oil Painting. Early 19th Century French Vanitas Oil Painting on Canvas. The Old Master Vanitas Still Life Painting depicts a skull, book and rosary. Oil on canvas, lined. Unsigned. In gold gilt period frame. Very well painted, attractive & highly decorative Vanitas skull...

George Washington: A Masterful Portrait from the Circle of Gilbert Stuart, Circa 1820 This distinguished oil on canvas portrait of George Washington, dating to circa 1820, is in the...

A Large Continental Oil on Canvas "The Prohibited Reading " after Karel Ooms (Belgium, 1845-1900). This beautiful executed painting depicts a historical scene of an old man and a young woman who are huddled over a bible. The pair is gazing in apparent concern or alarm, over the old man's shoulder, towards something outside of the picture. The scene is likely set in the 16th or 17th century when Protestants were prosecuted, amongst others, for reading the bible in the vernacular, a practice prohibited by the Catholic Church at the time. Signed (l/r) A. Ribas 15-12-913. Within a giltwood carved frame. circa: Probably Belgium, 1913. Karel Ooms was born in Dessel on January 27, 1845 as the youngest son of a large peasant family. At school his extraordinary talent for drawing was discovered. When he was twelve his hometown provided financial support which allowed him to study at the Antwerp Academy of fine Arts. One of his teachers at the Academy was Nicaise de Keyser, one of the key figures in the Belgian Romantic-historical school of painting and a painter of mainly history paintings and portraits. After graduating from the Academy 1865 Karel Ooms was welcomed with pomp in his home town Dessel. He painted two altarpieces for the local church Saint Nicolas, to express his gratitude to his city. Karel Ooms settled as an independent artist in Antwerp around 1871. He quickly established a reputation as a portrait painter. In addition, he received commissions for religious paintings and history paintings. He gained particular recognition with two large paintings...

Enchanting oil on canvas by Carl Emil Doepler, protected by a beautiful hand-carved giltwood frame with a metal label titled "Italian Renaissance Party", depicting a traditional Ital...

Tomas Aceves (Spanish, 19th century), circa 1870. Oil On Board in Giltwood Frame. "Alcazar of Seville Interior". This masterfully executed architectural interior painting, signed b...

18th Century French Revolutionary Hand Colored Engraving During The Revolution. Very Ornate Gilt wood Frame. Beautiful piece purchased in France. Age appropriate wear, see detailed p...

This early 20th-century oil on board by American artist Louis Nadler offers a vivid portrait of a chestnut horse standing alert in its stall. Characterized by its anatomical precisio...

Measuring 24 inches in height and 32 inches in width unframed, this large oil on canvas painting from the early 20th century depicts a pastoral scene at the riverside. In the lower l...

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 Ma...

A French framed oil on canvas still-life painting from the 19th century depicting fruits. Born in France during the 19th century, this exquisite still-life painting depicts an abunda...

Adam and Eve Oil on canvas signed below left «E.R. Ménard 1923» Labels on the back, including one from the Carnegie Institute in Pittsburgh, Pennsylvania in 1925. Titled in a cartou...

Two abstract oil paintings on masonite boards by Pascal "Pat" Cucaro including the Cory Gallery of San Francisco pamphlet where the works were originally purchased (ca. 1968, USA). T...

This is a charming Victorian period reverse painted landscape, offering a brooding aesthetic and period art appeal, dating to circa 1860. This antique oval convex painting is set within an ornate giltwood frame. Fascinating convex oval scene, presenting a delightful sense of depth and perspective Displays a desirable aged patina and in good original order Hand-painted landscape to reverse of glass, redolent of the Continental school Subdued colour palette, set amongst appealing gilt tones Landscape presents a rustic countryside building between small lakes Figural detail, featuring a fisherman and two military men upon the shoreline Ornate giltwood frame, adorned with an acorn motif for decorative elegance Dressed to the rear with mounting wire, allowing for easy wall display This is a superb antique wall...

An exceptional large Mid-19th century American School Victorian Folk Art portrait. The painting features a young, well-dressed mother seated in a tufted balloon-back chair with her ...

17th Century Altar Cloth Fragments Framed in a bois dore frame with green behind glass Made of hand woven silk Metallic thread embroidered Depicting Cornucopia also known as the Hor...

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...

Impressive well painted 19th century Russian oil on canvas of hunt scene or chase featuring troika pulled by 6 horses in full stride. Man armed w...

Beautiful oil painting on panel depicting Christ, made with a chalky preparation which gives brightness and depth to the figure. The work can be attributed to a Venetian painter or o...

Georges C. Michelet was born in 1873 in France. He was portraitist and orientalist. This wonderful and atmospheric painting is painted on wood and illustrated a lively old town of C...

An antique matching set of deep set first finish giltwood frames having foliate decoration and housing portrait prints of young children, signed and numbered, 19th century. Measures...

18th Century style Pierre Bouillon neoclassical engraving Prints of Roman & Greek Friezes. Beautifully framed. Additional information: ...

Large 19th Century English Oil Painting -Five Hunting Dogs- signed E. Armfield. Large, signed painting in oil on canvas. This ...

A lovely pair of vintage Mid-Century Italian gilded wood wall brackets shelves with a hand carved seashell design. They are perfect for displaying decorative collectibles or fabulous...

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 feathers design and...

Large Oval Berlin 'K.P.M.' Porcelain Plaque of a Harem Dancer Germany, circa 1890 This exceptional Berlin (K.P.M.) porcelain plaque showcases an exquisitely detailed painting of a veiled, exotically dressed...

This stunning set of portrait paintings from the 1840s presents a Dutch gentleman and lady of notable status. The gentleman is dressed in a crisp white shirt with high standing colla...

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...

This is a quartet of antique exotic bird prints. An English, framed avian nature study, dating to the Edwardian period, circa 1910. Superb ornithol...

Lovely rustic antique wall shelf having weathered giltwood carved swag adorning the bottom.

Higgins and Bower Print on Canvass signed W M Chase. Higgins & Bowers used the Oleograph English technique, which involved photographing the original painting, then making a high qua...

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...

Pair of Gustav Carroll Hand Painted Chinoiserie Panels in Giltwood Frames

After William Hogarth (English, 1697-1764), originally done circa 1750 - this is likely done in the mid 1800's. "The March of the Guards to Finchley, also known as The March to Finc...

A very fine Italian 17th century oval oil on canvas "Head of Christ Crowned with Thorns" Circle of Pierre Mignard (French, 1612-1695) within...

Beautiful oil painting on canvas, framed in an elegant carved and gilded wooden frame, complete with mirror. This work, belonging to the famous Florentine painter Raffaello Sorbi, bears the artist's signature at the bottom right and is dated 1863, placing it in his early youthful production. Sorbi's stylistic characteristics are clearly visible, in which the warm Macchiaioli tones blend with neo-Gothic and romantic subjects, taken from the Renaissance and the Middle Ages. In this case the painting portrays the meeting between Dante and Beatrice, set in Florence, in front of a church, probably the Badia Fiorentina, a place frequented by both Dante, Beatrice and their respective families. Against the backdrop of Renaissance Florence, you can see people entering and leaving the church, while on the sides of the main scene there are figures of the people and a little girl sitting on the steps. The central scene represents the meeting between a young Dante, wearing the characteristic red tunic...

"Armiger et Ephebus Indi" — Hand-Coloured Engraving from the Grand Carrousel of 1662 An exceptional hand-coloured copperplate engraving from the celebrated Grand Carrousel held at t...

A color silkscreen print titled "American Gold", signed by the artist and numbered 503/600, the work of art depicting different olympic competitors as well as different country flags...

Otto Pilny (Swiss, 1866-1936) A very fine orientalist oil on canvas "The Slave Market", depicting a desert scene with the offering of two female slaves. Signed and Dated (l/r): Otto Pilny, 1910. Canvas height: 31 1/2 inches (80 cm). Canvas width: 47 1/4 inches (120 cm). Frame height: 37 inches (94 cm). Frame width: 52 inches (132.1 cm). Previously offered at Christie's New York, 19th Century European Art, Sale 2521 on October 12, 2011, Lot 84. Latest Otto Pilny Sale: Christie's London - The Orientalist Sale including Works from the Najd Collection on 30 March 2021 - Lot 49 "Dance in the Desert" was sold for £100,800 ($138,500) There is not that much information about Otto Pilny who began his artistic education in Prague. Pilny also lived in Vienna and ended up settling in Zurich. Just like Ludwig Deutsch (1855-1935), Rudolf Ernst (1854-1932), and Carl Leopold Müller (1834-1892), Pilny was encouraged to travel abroad. During his two trips to Egypt, a favorite destination of the Austro-Hungarian school, the first one in 1889 and later en 1892, he acquired the taste of painting Orientalist scenes of Middle Eastern landscapes...

Cellarius Andreas Pair of 18th Century Watercolor Celestial Maps within gilt frames, titled Planisphaerivm Aratevm sive Compages Orbivm Mvndanorvm ex Hypothesi Aratea in Plano Expre...

A Very Large and Quite Impressive 19th C. Italian Oil on Canvas Painting, 'Departure of the Guests', F. Beda. The oil painting Departure of the Guests, signed by Francesco Beda, capt...

Alex de Andreis (British, 1880–1929)—Portrait of a Musketeer, Signed Oil on Canvas A richly painted and theatrical oil on canvas by British artist Alex de Andreis (1880–1929), celeb...

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...

Attributed to Giorgio Lucchesi (1855-1941) A large and impressive early 20th century oil on canvas "Madonna and Child" after Bartolomé Esteban Murillo...

This is a pair of vintage Rococo revival ornament brackets. A French, giltwood mounted candle stand, dating to the late 20th century, circa 1970. Pleasing Rococo revival taste with...

Italian School, 18th century. A masterful example of 18th-century Italian School artistry, this Old Master landscape painting captures the sublime beauty of an idealized European co...

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...

A pair of giltwood wheat motif wall shelves, Italy, mid 20th Century, the good size measuring 15 inches high, 12.5 inches wide, and 6 iches deep.

A spectacular and exceptionally rare pair of English, possibly Irish, George III circa 1800 wall brackets or shelves in 'Rustic' style, the cusped shaped tops in original 'red ochre' paint with period brass hanging tabs, the tapering 'bodies' composed of fully gilded twigs and rootwood in original finish. Provenance: The collection of Sir John Boorman at The Glebe, Annamoe, County Wicklow, Ireland. The 'Rustic' style in design emerged in Great Britain from the 'Picturesque' movement within Romanticism of the 18th century as a quiet rebellion against the formality of Baroque and Neoclassical architectural styles and was largely ephemeral due to it's inherently specific application; that it being intended for the 'cottage orné', follies, and grottos of the landed gentry. Frances Collard states "Rustic furniture, particularly that made of untrimmed branches and roots, appeared in the designs of Thomas Chippendale and Thomas Johnson and were featured in an anonymous work published by Josiah Taylor's 'Architectural Library, "Ideas for Rustic Furniture", from 1790-5". The Duke of Buccleuch...

Hans Zatzka (Austrian, 1859-1945) a very fine and charming oil on canvas "Spring Beauties", depicting three young maidens picking flowers by a lake. The three young girls sitting, kneeling and laying on a grassy area of the forest, her wicker basket filled with the freshly picked flowers, the middle one wearing a bonnet and a straw-hat laying on the ground behind with butterflies flying by, within a gilt-wood and gesso carved frame. Signed (l/r): H. Zatzka. Circa: 1890-1900's, Hans Zatzka (Austrian, 1859-1945) was a well known and regarded Austrian fantasy artist whose most popular and valuable works depicted figures of young maidens with angels, floral and other cheerful and warm scenes, including Orientalist themes. In the past thirty years alone, the high quality and detail of his beautiful paintings has caught the attention of International collectors and art dealers alike, creating a highly sought after market and demand for his instantly recognizable body of work. In the late 19th and early 20th century, many of Zazka's charming works were photographed for commercial and collectable postcards. Though no information about his works being exhibited in museums is currently available, most of Zatzka's paintings are in private collections and, in the past century, very few of them have become available on the open market. At the young age of eighteen Zatzka joined Austria's Academy of Fine Arts under the leadership of Professor Blaas. For his fine early works, in 1880 he received The Golden Fügermedal award. Zatzka, like many other artists of the era, traveled around Europe working and selling his art and, in one of his many trips to Italy, he developed a special interest in Religious themes, decorating churches with frescos as well as painting several religious scenes of Madonna's and Child, Saints, Angels and others. In 1885 Zatzka was commissioned to paint "The Naiad of Baden" a ceiling fresco at Kurhaus Baden. Most of Zatzka's income came from his work in religious art and special church commissions. Numerous leading art dealers from around the world that specialize in late 19th and early 20th century European genre paintings have come to the conclusion that the painter signing his works Bernard Zatzka, Joseph Bernard or J. Bernard is almost certainly the artist Hans Zatzka. The consensus seems quite plausible when comparing works known to have been executed by Hans Zatzka together with similar works displaying the signature; Joseph Bernard, J. Bernard or Bernard Zatzka. Lohengrin refers to the knight of the swan, hero of German versions of a legend widely known in variant forms from the European Middle Ages onward. It seems to bear some relation to the northern European folktale of “The Seven Swans,” but its actual origin is uncertain. It is also a character in German Arthurian literature. The son of Parzival (Percival), he is a knight of the Holy Grail sent in a boat pulled by swans...

Thomas Chambers School Oil on Board Landscape Painting, Lake Scene, Unsigned, Framed, C1850 Measures - 18.25" x 24.25" x 3"

19th century French framed floral oil painting. Stunning 19th century French framed oil on canvas painting. This gorgeous well executed Barbi...

Capriccio from Jeremias August Urlaub, born 1784 in Hanau, death 1837 in St.Petersburg belongs to an important franconian painter family. Original magnificent and special frame, o...

An Incredible 19th Century Orientalist Oil on Canvas 'Prince and Princess in the Harem" signed by Antonio Rivas. Antonio Rivas (1845–1911) was a Spanish painter active in Rome, know...

Decorate a wall with this beautiful antique painting. Set in the original carved gilt wood frame, the artwork depicts Saint Francis of Assisi in meditation in a religious ecsatasy. T...

Antique oil painting dated 1892 and signed by the artist as A. Hart. The sweet interior scene shows a grandmother sewing with a granddaughter, with the doll thrown on the floor and ...

Set of Four Panels Decorated with Allegories of Arts France Circa 1865 Height. : 180 cm (70,9 in.) ; Width : 63,5 cm (25 in.) ; Depth : 12 cm (4,7 in.) Set of four large painted panels, in carved and gilded wood. The upper part of each panel is decorated with allegories of the arts, representing music...

Large 1945 John Sennhouser Abstract Oil Painting On Canvas, Framed and Signed Offered for sale is a large 1945 John Sennhouser ((Swiss-American 1907-1978) abstract oil painting on ...

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...

An English oil on board horse painting from the 20th century by K.M Nadler, in carved giltwood frame. Immerse yourself in a captivating depiction of equine grace with this mesmerizing 20th-century oil on board horse painting by the artist K.M. Nadler, born in 1928. This elegant artwork, framed in a luxurious carved giltwood frame, beckons the viewer into a tranquil stable setting. Nadler’s exquisite brushwork breathes life into the magnificent horse that stands poised and serene, portrayed in profile. The finesse in capturing the horse’s anatomy and the subtle sheen on its coat reveals a mastery of realism. The depth in the horse’s eye whispers tales of its unwavering spirit. Adding a dramatic element, an ethereal light source from the upper right casts an emphatic shadow on the stable wall, enveloping the scene in an enigmatic aura. The ambiance is further enriched with red terracotta floor tiles...

All by Basilius Besler { 1561-1629] Besler was an apothecary and botanist and managed the gardens of Bishop Johann Conrad of Eichstatt, Germany. Besler created 'Hortus Eystettensis a...

Charles D. Hartley (British/American, 19th Century) Scottish Highlands landscape oil on canvas canvas: 30 by 18 inches Frame: 33 ½ by 21 ½ inches