Giltwood Paintings

Vintage small Modernist still life painting features a composition of fruits and flowers in a blue vase. Jewel-like colors of burnt orange background juxtapose the intense blue colo...

Joseph H. Greenwood (Massachusetts, 1857-1927), "New England Landscape" - Oil on Board, 14.75" w x 12.25" h. Joseph Greenwood, renowned for his evoc...

Beautiful antique oil on panel depicting Amy Robsart having her wedding dress shown in her master bedroom. It is protected by a gilt wood frame. Signed "Laslett J. Pott" and dated 18...

Beautiful pair of oil paintings on canvas, mounted on panel and framed in ebonized and gilded wood. The pictorial technique used favors chiaroscuro, with the representation of a vase...

Decorate a living room, library or study with this important antique painting. Created in Italy circa 1850, and set in the original carved gilt wood frame, the hand painted canvas titled "Madonna of the Harpies", depicts the Virgin Mary holding her Child, our Lord, Jesus Christ; She is flanked by Saint John the Evangelist, and either Saint Francis or Saint Bonaventure. The large religious painting...

Stunning Irish oil on canvas framed painting painted during the last quarter of the 20th century, by Ted Jones (Irish 1952-2017). This wonderful depicts a ...

From Italy an original colorful view of Milan depicting the Ticinese Darsena Navigli Canal with boats and buildings, an oil on canvas painting signed lower lright C.Castelfranchi Mil...

19th Century copy of 18th century portrait of Robert Harley, 1st Earl of Oxford, (born 1661, London, died 1724, London). He was a British statesman who headed the Tory ministry from ...

This beautiful Painting titled “The Wren Song” by English Artist Alan M Hunt, early Twentieth Century. Complete with its original modern frame. Signed l...

ELMO MARSHALL - 'An English Garden' - Vintage Impressionist 'palette' oil painting - vintage gold gilt wood frame - finished with a single matte board with glass - signed/titled/date...

Set in the original carved gilt wood frame, this antique oil on canvas was crafted in Europe circa 1860. Signed in the lower right corner by Dutch artist, Frans Lebret, the charming pastoral painting captures a serene interior barn scene filled with rustic warmth and intimate detail. At the center, a group of sheep reclines peacefully on a bed of straw, joined by a rooster and a hen, all softly illuminated by daylight streaming in through an open doorway. To the left, a woman and child stand quietly near a wooden support beam, their presence suggesting a gentle guardianship over the animals. The structure of the barn its beams, rafters, and shadowed recesses are rendered with atmospheric depth, evoking a sense of shelter and tranquility. Outside the barn, a glimpse of tiled rooftops and blue sky connects the calm interior to the rural world beyond. The painting is presented in a lavishly ornate gilded frame, carved with baroque scrolls and acanthus leaves, which enhances its timeless, bucolic character. This work is a tender tribute to the harmony between humans, animals, and agrarian life. The art work is in excellent condition with great details and beautiful pastel colors; it is set in a splendid and elegant gold leaf frame with floral and leaf motifs in high relief. Artist listed in the Benezit. The canvas has been relined. Frans Lebret (1820-1909) was born in Dordrecht and was known for his Dutch landscapes mainly with sheep. Thanks to financial help from his brother Gerrit who had a sugar estate in Java, and his job as a drawing teacher, Frans was able to survive his first years as a painter. Later he became quite successful and was able to live of the sale of his landscape paintings with animals. In 1863, together with his brother Jan Hendrik...

Fanny Sugars (British, 1856-1933) A Charming Victorian Era Oil on Canvas Depicting a Portrait of Standing Young Girl Wearing a Bonnet, within a later giltwood frame. Signed and Dated: 'Fanny Sugars / 1881' (lower right). Museums: Lancaster City Museums Miss Dalton, possibly Alzira Eloise Dalton (1889–1983) c. 1904 by Fanny Sugars (1856–1933) Lancaster Maritime Museum Miss Dalton, possibly Alzira Eloise Dalton (1889–1983) by Fanny Sugars (1856–1933) Manchester Art Gallery My Mother by Fanny Sugars (1856–1933) Fanny Sugars (1856–1933) Is recorded in Union List of Artist Names - Getty Research Fanny Sugers (1856–1933) is recorded as having exhibited at The Royal Academy Of Art in London, 1903. Exhibition No. 1160 - Portrait of a Lady. Article from Woman, Art and Money in Late Victorian and Edwardian England - The Hustle and the Scramable: Fanny Sugars was a ‘well-known Manchester artist’ who had been the only artist out of forty-one nominees to be elected to the Manchester Academy membership in 1897. ‘Women’s Doings’, Hearth and Home, 11 March 1897, 722. 64 ‘Women’s Doings’, Hearth and Home, 29 March 1900, 883. 65 Cherry, Painting Women, 70. 66 Arthur Fish, Henrietta Rae...

19th century Victorian oil on canvas portrait painting of Great, Great Grandmother (Elizabeth Craford 1798-1865) by Laura Birge, circa 1870, signed middle left. Laura C Birge (b.1846 - 1928), was born in Seneca Falls, New York. As a young girl she learned, for several years, to draw with Clara Soule (1834 - 1902). She then went to New York City and studied under William Rimmer...

A vintage French oil on canvas painting of Napoleon Bonaparte as Emperor in a hand carved original gilded wooden frame, painted by S. Chapin in good condition. The wall décor art pie...

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

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 stunning pair of Italian 17th century oil on canvas paintings by Antonio Travi. Each painting displays an impressive array of rich colors, typical of T...

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...

A finely rendered equestrian portrait, this early 20th-century American oil on board captures the striking presence of a chestnut racehorse standing in its stable. The animal is pres...

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...

18th century French pair of oils on gold leaf panels. One is depicting an angel playing the violin, and the other one is holding the music book.

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...

An exceptional example of a Regency period hand colored stipple Engraving by George Morland titled “The Lass of the Livingstone” complete with its original giltwood ornate oval frame...

Small silk printing figuring a romantic scene in the 18th century style. A stand woman wearing a red and white dress reaches her hand to kiss to a ...

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...

Beautiful early 19th century portrait dated and signed at the back. Portrait attributed to Berthon, student of David "The young girl and the c...

Decorate a dining room table or an office with this elegant antique French oil on canvas painting. Set in the original carved gilt frame, the art ...

A gorgeous and charming pair of Victorian framed oil paintings of a snowball fight with a village in the background. Russia, late 19t...

***Reduced In-House Delivery Rates - Click on “Ask Seller” to Request a Quote*** Antique Louis XIV Giltwood Portrait of A Noble Woman with Gilt Fr...

A very Fine and rare French 19th century Louis XV style giltwood carved Vernis Martin Stylefl fireplace screen. The rectangular carved giltwood panel surmounted with four circular oil paintings...

A striking pair of Italian 19th century Venetian oil on canvas paintings. Each painting is set within their original giltwood frame. The charming scenes d...

This Italian tempera painted on gilt wood gold ground panel is a Tuscan religious artwork in the style of late Renaissance - early Gothic period. The sc...

1960s Golf Pinup '8th Hole' by Roberto Moya, Whimsical oil on canvas, of a brunette golfer with an inclination of winning the 8th hole. signed lower right...

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...

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 ...

An exceptional Continental late 17th century oil on canvas still life painting, in a 19th century giltwood frame. The beautiful painting displays a wonderful array of vivid colors an...

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...

A large 19th century oil on canvas Bacchante group depicting two allegorical young semi-nude maidens dancing with pan, attributed to Leopold Schmutzler...

A French Napoléon III period framed architectural oil on canvas panel from the mid 19th century, with Allegory of the Arts and rinceaux motifs. Created in France at the beginning of ...

A French Barbizon School framed oil on canvas painting from the early 20th century, depicting a pastoral farmyard scene and signed Theodore Linsyer. Born in France during the early y...

A sun-drenched provençal landscape is brought vividly to life in this large 20th century post- impressionist style oil-on-canvas. Undulating hills in the distance provide an evocativ...

This exquisite 19th-century American School oil on board is a captivating example of the New Hampshire School, renowned for its contributions to American landscape painting. The comp...

Allegory of ecstasy with Cupid, an 19th century Italian tempera and watercolor painting, oval composition within a rectangular greenish frame. The painting depicts the dream, the ec...

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

A French giltwood framed oil on canvas still-life painting from the 19th century depicting a bowl of fruits. Born in France during the 19th century, this horizontal oil on canvas still-life painting depicts a delicate arrangement of mouth-watering fruits standing out beautifully on a brown-toned neutral background. Our eye is immediately drawn to the yellow and red grapes displayed...

Outstanding oil on canvas portrait depicting a child, Toribio de Velasco y Viguri, whose name appears written in gold letters in the upper right corner against the dark background of...

Charming still life old Italian painting with beautiful details, in a vintage Italian carved wooden frame Interesting for a study room . If You don't want the frame for the paintin...

A gorgeous pair of Grand Tour or Neoclassical style framed oil paintings of an Italian Capriccio landscape with ruins Italy, Early Century Oil on board, gilt frame Measures:...

This whimsical 19th-century oil on canvas, attributed to Thomas Webster R.A (1800-1886), depicts two young boys spying inside of a sealed letter, careful not to break the seal. The s...

A fine English still life oil on canvas painting, signed J.E. Cook. Still Life Oil Painting of Flowers, attributed to 20th Century British Artist Frame measures 25 3/4" x 22" Presented in a high quality hand-carved giltwood frame. Signed on lower right. Provenance: Private French collection Possibly the work of Jean Esme Oregon Cooke RA was an English painter of still lifes, landscapes, portraits and figures. She was a lecturer at the Royal Academy and regularly exhibited her works, including the summer Royal Academy exhibitions. She was commissioned to make portraits by Lincoln College and St Hilda's College, Oxford. Her works are in the National Gallery, Tate and the Royal Academy collections. In the early years of her marriage, she signed her works Jean Bratby.

An 18th century French Louis XVI style trumeau mirror with a large oil painting depicting The Abduction of Deianira after Guido Reni. Gilded wood frame with bright gilt finish is in ...

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...

Royal House Antiques We are delighted to offer for sale this stunning original circa antique oil painting signed by A J Sticks A very good looking and...

Splendid 17th-century Italian painting by unknown artist, but certainly a follower of Caravaggio, relying on style and drawing. The painting has a very beautiful gilded wooden frame, with a subtle greek with spheres and an overlying rectangular frame with sinuous flowers on each corner, very elegant and beautiful. The painting depicts one of the most depicted religious scenes ever, the scourging of Christ, and is entirely done in oil on copper. The scourging of Jesus is an episode narrated in the Gospels (Mk15:15-16; Mt27:26-27; Lk23:16-26; Jn19:1-17[1]). Scourging is a flogging, particularly bloody, by means of sticks, rods or cat-o-nine-tails, the latter instrument consisting, in the Roman typology, of a short stick to which were secured several strings ending in metal claws, leads and bone splinters that caused tremendous lacerations and fractures to the tortured person. Chains are used in this scene, both to immobilize Jesus Christ and to flog him, as we can see in the upper right hand of the scourger. According to some personal research, it turned out that the actual scourging of Christ was mostly depicted at the column, while this Christ is on the ground, so presumably Christ here is scourged during the Way of the Cross at one of those stages where he fell. The painting has a very dark coloring, which is why this painting is believed to faithfully follow Caravaggio's style of dry, authoritarian brushstrokes. The painting shows a figure agonizing on the ground that continues to receive beatings and floggings of all kinds, representing Christ; his face is crucified in a loquacious expression of pain, he turns his eyes to heaven as if to invoke God, but at the same time those same eyes admonish the wickedness and arrogance inherent in humanity. Christ has one hand resting on the ground in the act of holding himself, while the other takes a completely unnatural stance against the barren ground. His body appears hardened to wanting to parry the blows, his legs are curled up on his knees as he takes kicks from the soldier above him. Christ is depicted pinned down from the neck with a very large and strong black iron bolt held by the other soldier. The soldier on the right in the foreground wears a one-shoulder tunic with an orange tunic and blue pants. On his feet he wears gray shoes, at his waist he has a belt with an iron helmet...

A pink-yellow, antique French still life oil on canvas painting, depicting a white ceramic vase with many roses, painted by Dominique Hubert Rozier in a handcrafted, original gilded ...

Decorate a study, living room or den with this beautiful and colorful suite of antique paintings! Painted in France circa 1890, the artworks are set in carved gilt wood frames and il...

“The Standard Bearer” after the original by Sir John Gilbert, circa 1880. Oil on canvas in period gilt frame. Gilbert was known for his watercolors of historical English subjects. ...

Oil on Canvas Painting by Ralph Albert Blakelock. Know for his landscapes, Blakelock ((1847-1919, American), in this landscape captures lush landscape peaking beyond an open space wi...

A very fine French 18th-19th century oil on canvas portrait of a posing lady with flowers, after Jean-Marc Nattier (1685-1766) within an ornate gilt wood carved frame, circa 1800. ...

The work is a round framed painting made of gilded wood, with an angel above the frame cin center. The frame is all made with very elegant, curv...