Carved Paintings

Pair of 20th Century decorative Venetian canal paintings, After Canaletto Each one Signed 'Maffel' A stunning pair of late 20th Century oils on canvas, views of the Grand Canal in Venice Italy, in ornate carved giltwood frames. After works by the iconic Venetian painter...

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...

Invite a symphony of color into your home with this important antique still life oil on canvas painting. Painted in Italy circa 1880 and set in the original carved gilt frame, the composition depicts a tablescape adorned with a rich crimson tablecloths, decorated with a bowl filled with various fruits and squashes, with a vase on the right side overflowing with flowers. The artwork is signed in the lower right corner by Italian artist D. Giuseppe. The large colorful painting...

A fantastic depiction of a day at the beach at Trouville in 19th century France, this grand oil on canvas painting by Paul-Emile Morlon is is surrounded by a giltwood frame adorned w...

Henry Joseph Campotosto (Belgium, 1833-1910) A Very Fine Oil on Canvas "Walking the Baby Goat", depicting two young dutch girls by the grassy shore of a river bank, one standing holding a wicker basket and a leash to a resting baby goat, the youngest sitting next to her on a pile of branches tucking her pants, a pair of ducks and ducklings swimming by the tree lined river; within a later giltwood carved frame. Signed (l/r): Campotosto Henry. Circa: Brussels, 1870. Note: The artist is also known as Henri Campotosto Henry or Henri Campotosto was born in Brussels in 1833. He studied in Brussels at the Royal Academy des Beaux-Arts and painted some artworks with Eugène Verboeckhoven (Belgium, 1798-1881). He received a 1st Class Medal at the Academy of Brussels and an honorable mention at the Paris Exhibition of 1860. In 1871 he moved to London with his family and remained there for life. He exhibited his work at the Royal Academy Exhibition until 1874 and at the Suffolk Street Gallery from 1878. In 1880 he took part in the Berlin Academy Exhibition. His daughter Octavia also became a painter, visited Italy, and showed her paintings at the Royal Academy from 1871 to 1874. Henri Campotosto died in London in 1910. High Sales: Christie's New York - Property from an American Collection, "The Bird's Nest" - Lot 247 on October 22, 2008, Sold for $37,500 Bonhams London - 19th Century European, Victorian and British Impressionist Art on 28 September 2016 - Lot 33 "Gathering flowers" Sold for £25,000 ($33,750 USD) Museums: The British Museum - Print of two girls and a lamb and print of two girls by a river bank Literature • E. Benezit Dictionnaire des Peintres, Sculpteurs, Dessinateurs, et Graveurs by Librairie Gründ - 1976 Edition - Volume 2, Page 488. • Maurice W...

This beautiful antique oil on board painting was created in France circa 1830. Set inside its original gold leaf frame, the painting shows a humble peasant mother feeding breakfast to her two children after saying grace in the manner of Chardin. The interior of the home is simple, austere and calm. The painting is in excellent condition, commensurate with age and use with wonderful colors. The composition here is meticulous, and the stability created by the triangular structure of the three figures also adds to the tranquility and balance of the scene. Le Bénédicité (English for Grace) is a painting by French artist Jean-Baptiste-Siméon Chardin...

The subject of this antique oil painting is a man enjoying lunch, as emphasized by the brass placard near the bottom of the giltwood frame that reads Dejeuner (“lunch”), with the artist’s name “A de Andreis”. Based on the man’s style of dress, it appears as if de Andreis is depicting a cavalier from the mid-17th century. The gentleman is clad in a red doublet with a light gray colored jerkin with floral patterning. He also is wearing a white ruff-like collar and tan boots...

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...

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

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

Decorate a man's office or study with this elegant pair of antique paintings; crafted in France and set in the original carved giltwood frame, each canvas features a nicely dressed p...

19th century Indian erotic gouache depicting a couple copulating while standing on a carpet with a bolster behind. The actions of the couple juxtaposed with the calm demeanor on thei...

A blue-brown, antique Swedish oil on canvas painting of a sunny day at the Piazza Barberini, in Rome, Italy painted by Gustaf Wilhelm Palm in a hand carved original gilded wooden fra...

Mario Carreño "Serenade" Oil Painting on Canvas, Cuba 1941, Signed Offered for sale is an important oil on canvas painting by Cuban artist Mario Carreño (1913-1999) signed and date...

Decorate a study, living room or den with this beautiful and colorful antique painting. Painted in France, circa 1890, the large artwork on canvas is set in a carved Giltwood frame a...

Decorate a study, living room or den with this beautiful and colorful pair of antique oil paintings! Painted in France circa 1890, each artwork on canvas is set in a carved gilt wood...

Decorate a study, living room or den with this beautiful and colorful antique painting! Painted in France circa 1890, the artwork on canvas is set in an exquisite carved gilt wood fr...

Signed lower left. A genre scene along a Venice canal with ladies shopping. They stop at a vegetable stall under a white awning. The proprietor is seated doing needlework with her da...

'Erblüth' a large and very fine Berlin (KPM) Porcelain plaque, after Angelo Asti. In a giltwood and composition shadow box frame. Signed 'Weigel', impr...

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 French winter landscape painting from the 1800’s sits securely in the original giltwood frame. The hand-carved frame has several long ribbons, with sinuous fabric curls encompassing a repeating border of two distinct flowers. A slender cavetto molding can be seen inside of the carvings, with a repeating scalloped leaf motif that immediately borders the canvas. The French School painting depicts an overcast winter day with a small patch of blue sky in the middle of gray clouds above snowcapped mountains. Most likely the French Alps, there are a few evergreen trees...

19th Century Dutch seascape by Hendrik Daniël Eckelboom. Signed lower left, Hendrik Daniël Eckelboom (Dutch, 1806-1847). Painted on a rectangular canvas, a fine example of Hendrik Daniël Eckelboom's intricate depiction of a busy Dutch harbor...

Hand-painted in Florence, Italy, this fantastic oval wooden wall panel features a large urn with a scrolled handle. The urn is adorned with a fluted...

Rococo oil painting signed Bruno Blätter around 1890 Oil on canvas painting. Rococo scene. Three gentlemen seated at the table, playing cards a...

Decorate a wall with this large and colorful antique oil on canvas painting. Set in the original carved gold leaf frame, the artwork was created in France at the turn of the century. The composition depicts peasant in front of their farmhouse and going to a party all dressed...

Decorate a study, bedroom, or living space with this colorful antique pastel painting. Created circa 1880 and set in the original carved giltwo...

Decorate an office or study with this large watercolor painting. Created in Paris, France circa 1930, and set in a gilt carved frame preserved with protective glass, the artwork titled “Paris Les Boulevards”, depicts an iconic Paris...

Decorate a study, living room or den with this beautiful and colorful antique painting! Painted in France circa 1890, the artwork on canvas is set in a 19th century carved gilt wood frame and illustrates a picturesque, countryside scene in rural France depicting a farmyard at the edge of a village; the painting is signed in the lower right corner by the artist, E. Kermanguy, one of the pseudonyms of Eugene Galien-Laloue (1854-1941). The pastoral painting, which has been relined, is in excellent condition with rich, realistic colors in a post impressionist style; throughout the painting, the viewer can get a sense of the artist's expertise in the rendering of space, light and a beautifully hazy atmosphere. We thank Mr. Noé Willer for confirming the authenticity of this work, which appears in his archives of the artist. Eugène Galien-Laloue (1854-1941) was a French artist of French-Italian parents. He was a popularizer of landscapes, marine and street scenes, usually those illustrating autumn or winter settings. His paintings of the early 1900s accurately represent the era in which he lived: a happy, bustling Paris during la Belle Époque. His paintings regularly include horse-drawn carriages, trolley cars and its first omnibuses. Galien-Laloue's works are valued not only for their contribution to 20th century art, but for the actual historical content which they document. His work can be seen at the Musée des Beaux-Arts, Louvier, Musée des Beaux-Arts, La Rochelle, Mulhouse, France. Some artists or writers are content to have a pseudonym so as to disguise their work. Eugène Galien Laloue was particularly adept at establishing many identities, since over the course of his career he worked under three main pseudonyms: J. Lievin – after a soldier he met during the Franco-Prussian war, E. Galiany – an Italianized version of his own names, and L. Dupuy – after Dupuy Léon who lived in his same area. Even his name “Galien” is questionable, since on occasion he spelled it with one “l” and on his birth...

An English oil on canvas horizontal painting from the mid 19th century, signed and dated, depicting a stationary bloodhound hunting dog, in carved giltwood frame. Created in England ...

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...

Decorate a study, living room or den with this beautiful and colorful antique painting! Painted in France circa 1890, the artwork on canvas is set in the original carved gilt wood frame and illustrates a picturesque, countryside scene in rural France with a church and farmhouses in the background, a river on the side and a peasant woman in the foreground; the painting is signed in the lower left corner by the artist, L. Dupuy, one of the pseudonyms of Eugene Galien-Laloue (1854-1941). The 19th century pastoral painting is in excellent condition with rich, realistic colors in a post impressionist style; throughout the painting, the viewer can get a sense of the artist's expertise in the rendering of space, light and a beautifully hazy atmosphere. We thank Mr. Noé Willer for confirming the authenticity of this work, which appears in his archives of the artist. Eugène Galien-Laloue (1854-1941) was a French artist of French-Italian parents. He was a popularizer of landscapes, marine and street scenes, usually those illustrating autumn or winter settings. His paintings of the early 1900s accurately represent the era in which he lived: a happy, bustling Paris during la Belle Époque. His paintings regularly include horse-drawn carriages, trolley cars and its first omnibuses. Galien-Laloue's works are valued not only for their contribution to 20th century art, but for the actual historical content which they document. His work can be seen at the Musée des Beaux-Arts, Louvier, Musée des Beaux-Arts, La Rochelle, Mulhouse, France. Some artists or writers are content to have a pseudonym so as to disguise their work. Eugène Galien Laloue was particularly adept at establishing many identities, since over the course of his career he worked under three main pseudonyms: J. Lievin – after a soldier he met during the Franco-Prussian war, E. Galiany – an Italianized version of his own names, and L. Dupuy – after Dupuy Léon who lived in his same area. Even his name “Galien” is questionable, since on occasion he spelled it with one “l” and on his birth certificate...

Set in the original carved giltwood frame, this antique oil on canvas was painted in France, circa 1849, the art work depicts two French soldiers in hard discussion with a man carryi...

Set in the original carved gilt frame, this small oil painting on board was created in France, circa 1860; it features a typical fishing scene on the Brittany coast, with two people ...

Decorate a study, living room or den with this beautiful and colorful antique oil painting! Painted in France circa 1890, the artwork is set in the original carved gilt wood frame; i...

Place this antique painting in a living room, bedroom, or on an office wall. Created in France circa 1880, the artwork is set in a unique octagon-shaped carved gilt frame. The piece ...

A colorful oil on canvas representing a group of children playing in a garden area near a Cathedral. Framed by a carved giltwood frame with foliage det...

Decorate a study, living room or den with this beautiful and colorful "Fausse Paire" of antique pastoral paintings (one horizontal, one verti...

These elegant oval frames were custom made to hold a set of “his and hers" oil portraits; probably a wealthy Italian couple. The wood carving is well-detailed and quite sturdy. The ...

Large oil painting in impressionist frame with a view of a church Large oil painting in impressionist frame with a view of a church. The painting is in a beautiful carved wooden f...

Decorate an office or study with this elegant antique painting. Created in France circa 1870 and set in the original carved gilt wood frame, the artwork features a typical French "Fete Galante...

A pair of Italian framed oil on fiberboard paintings from the 19th century depicting Venice's Piazza San Marco and the Ponte del' Rialto. Creat...

Decorate a study, library or den with this beautiful and colorful pair of antique paintings on canvas! Painted in France circa 1890, the art...

A striking Modern Painting fusing Classical Style Elements with Pop sensibility. Signed lower right, title on the stretcher. A formal portrait of a seated lady in black and white rob...

Richard Durando-Togo is a painter of Argentine origin who spent most of his life in Italy and France, in the latter country he settled permanently in 1934. He is a self-taught artist...

An English Turn of the Century oil on board horse painting from the early 20th century titled "The Saint" Prize Hunter of England, in an antique frame. Created in England at the Turn...

Decorate an office or a lodge with this elegant antique oil on canvas painting. Created in England circa 1880, and set in the original carved giltwood frame, the artwork titled "The ...

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...

Decorate a study, bedroom, or living space with this beautiful antique pastel masterpiece. Created in France circa 1880, the artwork depicts a young blonde girl seemingly gazing off ...

Decorate a study, office or den with this beautiful and colorful antique oil on canvas painting! Painted in France circa 1890, the artwork is set in a carved gilt wood frame and illu...

This quaint oil on board painting of a shepherd and his flock was painted in the 1800’s by the Belgian artist, Henri de Beul. The painting is signed “H. De Beul” and dated 1885 in the lower left corner of the painting. A shepherd in a green cap...

An English oil on canvas equestrian painting from the early 20th century signed George Paice (1854-1925), depicting a horse standing in a field, in a new custom brown and gilded frame. Created in the early years of the 20th century by British painter George Paice, this horizontal oil on canvas painting features an elegant brown horse with a single white sock...

Decorate an office or a study with this elegant pair of vintage paintings. Created in Italy circa 1990, and hand painted on board, both color...

Antique carved wood trumeau mirror with still-life painting, Circa 1880's.

These wonderful porcelain plaques were created in circa 1860 by the prestigious Konigliche Porzellan Manufaktur or KPM (German, founded in 1763). The plaques feature beautiful paintings based on works by the famous Seville-based Baroque artist, Bartolome Esteban Murillo (Spanish, 1618-1682). One plaque is decorated after Murillo...

Decorate a study, living room or den with this beautiful and colorful antique coastal seascape painting. Painted probably during the artist's time studying at the Hague or in his travels afterwards down the east coast of the United States circa 1920, the artwork is set in a carved gilt wood frame. The piece illustrates a picturesque little pier in the impressionist style, and is signed in the lower left corner "A. Thieme," the signature of Anthony Thieme (1888–1954). The oil on canvas painting shows several fishing boats with sails hanging moored at a small coastal docking area surrounded by buildings, with people moving about the pier, fishermen milling around on the boats, and seagulls flying overhead. The early 20th-century painting is in excellent condition commensurate with age and use, and adorns rich, vibrant colors; throughout the piece, the viewer gets a sense of the artist's expertise in the rendering of space, light and a beautifully hazy atmosphere, as he was referred to "The Master of Light and Shadow". The painting is in excellent condition commensurate with age and use. The back reads: "Low Waters". Sourced from the estate of a prominent Dallas family. Artist lsted in the Benezit. (See last picture). Anthony Johannes Thieme was born in the Dutch port city of Rotterdam in 1888. He studied at the Academy of Fine Arts in Rotterdam, at the Royal Academy at the Hague, as an apprentice to George Hoecker, a well known stage designer in Düsseldorf, Germany, and to Antonio Mancini...

Attributed to August Stephan Sedlacek (Austrian/German, 1868-1936) "The Violin Presentation" Oil on Canvas depicting an interior 18th century scene of...

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

Decorate an office or a study with this elegant antique painting on canvas. Created in Holland circa 1860 and set in the original carved gil...