Gilt Paintings

A vivid French oil painting, signed by the artist, Guerin. This painting on board depicts a hillside view of a city with various homes and buildings, including a cathedral. Framed by...

A colorful French still life painting on board depicts a pair of bowls overflowing with various fruits. Surrounded by a complimentary wood frame with gold gilt trim, this little pain...

A cheerful French still life painting on board depicts a blue vase with yellow flowers and an abstract background. Surrounded by a complimentary black and gold painted frame, this li...

A petite French painting with a gold painted frame. This oil on board seascape painting depicts a colorful scene of a sailboat near a lighthouse. Fixed with a wire, this painting is ...

This petite French watercolor painting is surrounded by a quality, carved antique gilt frame with its original glass. Fixed with a wire, th...

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...

Large size and one of a kind painting with a great atmosphere. We are by no means connoisseurs when it comes to antique paintings, but we have seen enough antique paintings to know ...

Large Celina Chirino Figurative Surrealist Oil Painting on Canvas, Argentina Offered for sale is a very large oil painting on canvas by the Argentinian artist Celina Chirino title...

This evocative oil painting depicts a woman standing defiantly amidst a turbulent sea. Clad in flowing white garments, she reaches her hands skyward, her face turned upwards in a ge...

A stunning piece of decorative art by Edna Hibel featuring a young girl dressed in a traditional Japanese kimono. Edna Hibel: 1917-2015. Well listed important American artist. Most...

The 19th Century Painting from Mexico in Gilt Frame is a captivating work of art that showcases the rich artistic tradition of the region. Set within an ornate gilt frame, the painti...

Large size and slightly abstract Arab street scene painting. This larger size and very well executed painting is another one of our recent great finds. It may be abstract in style, ...

Impressive oil on canvas memento mori or omnia vanitas still life painting. The site measures 15.5 inches wide and 12.5 inches high. Set i...

The Antique Carolus Rex III Portrait Painting, encased in a resplendent gilt frame, is a captivating testament to regal history and artistry. The painting portrays a figure of unmist...

Portrait of a young woman, drawing / pastel framed under glass. By M.Ducoin, signed and dated. France, 1934. Art Deco. Gilded wooden frame from the same period as the work. Framer'...

A vintage watercolor on paper depicting a woman in a blue dress threading silk, in gilded wood frame. Discover tranquility and minimalist beauty with this vintage Chinese watercolor...

Charles Levier born of a French Father and American mother. He was was active/lived in New York, California / United Kingdom, France and is known for landscape, still life and figura...

Charles Levier born of a French Father and American mother. He was was active/lived in New York, California / United Kingdom, France and is known for landscape, still life and figura...

Oil on panel: 'The Cowherder by the Pond', by Charles Dhuin, painted around the end of the 19th century, and signed in its lower right corner. This idyllic pastoral scene, with its l...

Napoleone Luigi Grady (Italian, 1860-1949) A Very Fine Oil on Canvas "A Young Man Bicorne Hat". The beautifully executed artwork depicting a posing young boy in full period celebrato...

A masterpiece of 19th-century artistry, the "English Hound Oil on Canvas" captured the essence of the era's fascination with naturalism and the aristocratic ...

"Morning Gorge" by Charles "Chuck" Volz (American, 1945-2020), a noted Santa Fe painter known for his luminous plein aire landscapes, signed front lower left, Giacobbe-Fritz Fine Art...

Step back in time with our Late 19th Century painting, a treasure in good condition and a testament to the artistry of the past. Signed in the bottom corner, this piece carries the a...

Émile Renard (French, 1850-1930) A Fine and Charming Oil on Canvas "A Good Poker Hand", depicting a joyous seated man, smoking a pipe, showing his Poker h...

Nicola Simbari, Italian painter of semi-abstract impressionist works known for using colors and favoring brilliant tones, especially with a palette knife. Considered by many to be It...

European workshop XVII century Portrait of Lars Gathenhielm (1689-1718) Oil on canvas Unsigned Lars Gathenhielm (1689–1718), was a Swedish sea captain, commander, shipowne...

Decorate a dining room or a living room with this signed C.F. Baker antique sculpted alabaster plaque. Created in Belgium, circa 1890 and set in a carved frame with gilt accents, the...

Signed and dated 1971 lower left. A lush blooming pink rhododendron bush in a garden in Roches Point, Ontario Canada in August. Its flowers and shiny leaves are illuminated by sunlig...

Signed, labeled and dated August, 1973 on verso. A sunny summer day featuring the garden of the artist in golden tones with flowers planted along a fence along with two trees. A thic...

Unsigned, from the estate of the artist. A rustic landscape with a snowfall on a snow covered lake and purple hills in the background. Two pine trees frame the scene in the foregrou...

Oil on canvas depicting a genre painting with a young girl that has climbed atop a bench over a table to reach the basket of apples and pass them down to the awaiting reaching childr...

Signed lower right. A large fishing vessel, perhaps for tuna or other large fish, at a dock- with the equipment for repair in evidence. art 10 x 12" painted and gilt frame 19 3/4 x ...

A Weaver's Room attributed to Cornelis Gerritsz Decker (Dutch, 1620-1678) framed Dutch School oil on wood panel painting, interior scene of a happy industrious working family, the fa...

Unsigned, from the estate of the artist. A large painting of a magnolia tree blooming in the spring with its gorgeous pink and white cupped flow...

oil on canvas landscape by Philip Erskine (South African 1933- ) Philip Erskine is a South African Postwar & Contemporary painter who was born in 1933, South Africa, 2006 signed and...

Oil painting on masonite or board. Signed lower right. A charming country scene of a house in winter with a fence and bluish-white snow covered yard. Tall brown-green tress frame the...

Set of four George Rouault landscape watercolor paintings, recently framed in 22 karat gold leaf wood frames by Lowy Framers, NYC. The paintings are French, circa 1960s. They are pri...

1940’s French Oil on Board “Treat Time” in Gilt Frame. The 1940s French Oil on Board titled "Treat Time" captures the essence of a bygone era with exquisite charm. This masterpiece ...

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...

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...

Contemporary Fine Art Tittle - Peacock Executed in 2021. original - only one - No Reproductions. signed by artist, dated 2021 on the reverse oil on canvas - 23.5 x 21 x 1.75 in....

Behold "Abundantia," an oil masterpiece on panel, often attributed to the accomplished artist Angelica (Maria Anna) Kauffman (Italian/English, 1741-1807). This remarkable work of art...

Presenting an exquisite piece of artistry, "Girl wearing a green jacket," an oil on canvas creation by the talented Russian artist Alexej Harlamoff (1840–1925). This painting encapsu...

Signed and dated 58 lower left. A textured oil on canvas illustrating a French street scene with market seller's umbrellas along a park. Shops are along the street with figures. Two ...

Original Abstract Mid Century Painting, artist unknown, believed to be American, circa 1960s. It has been recently professionally framed i...

Victorian British school watercolor landscape painting on paper - featuring a country church by a lake - original glass and frame with gilde...

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...

A beautiful original watercolor painting depicting Notre Dame Cathedral and the Seine in Paris, France. Painted by Henri Le Riche. Hand signed on the bottom left, pencil drawing of...

Edna Hibel color lithograph depicting Piazza San Marco or St. Mark's Square in Venice, Italy. Signed and Numbered. A very decorative piece of art by listed Post-Impressionist artis...

Large nautical seascape oil on canvas painting by Charles Levier. Window to Corsican port featuring a bowl of fruit leading one's imagination that the artist was sitting at a table looking out the window while producing this magnificent work of art. This painting is a masterful work and is perfect for those who have an affinity for abstracts, post-impressionism, cubism, nature, and nautical works. Painted in the manner of some Bernard Buffet works of art. Professionally framed, circa 1965. Framed Measurements: 40" High x 1/2" Deep x 34 1/2" Wide This Charles Levier oil...

Unsigned. Ca. mid-19th c. portrait of a lovely seated lady wearing a black dress with a fine broad lace collar, a sign of her high status in socie...

Unsigned, from the estate of the artist. A luminous view of a church steeple with bells against a golden and rose tone sky as dawn breaks. The gray sky is gradually iightening with b...

Antique 19th century painting on silk depicting a Ming Dynasty Chinese emperor. Beautifully executed with great details. Hand-painted o...

framed late 18th century English hunt scene, oil on canvas, two men take a rest while hunting large hares / rabbits with a pack of hounds (lower left) while another pair of hunters ...

This is a truly splendid antique and highly decorative French hand painted set in a gilded and glazed box frame, dating from the late 18th century. This wonderful fan is beautifully hand-painted with stunning figures dressed in classical costumes, gracefully dancing and playing music with a charming classical pavilion in the background. It has spectacular guards and spins. Add this highly ornate antique framed fan...

Late 19th C. Eastern European Icon of St. Gregory. Painted on a panel composed of two boards joined together with two battens, top and bottom. The wood appears to be either pine or f...

This art piece is a Florentine Renaissance period fresco of late 1500 hand painted with egg tempera representing the temptation of Adam and Eve, this pivotal moment in the history of...

An Antique portrait of a tan and brown terrier mix wearing its collar with ring. Mounted in a deep elaborately carved baroque style gilt frame. Measures: Painting 9 x 9", age crazed...