Gilt Paintings

This expressive oil on canvas captures the timeless charm of Montmartre, one of Paris’s most iconic and romantic neighborhoods. Signed “Dalian” and dated 1968 in the lower right corn...

This small oil on panel is attributed to Adolphe Valette (1876–1942), the French painter who later became a leading figure of the Manchester School and mentor to L.S. Lowry. Dating f...

As found in France, an impressive oil on canvas painting of a French landscape scene, signed, circa 1920's-1930's. A very lifelike rendering of a French village. This oil painting fe...

An antique 19th Century Russian Orthodox hand-painted egg tempera & gilded icon of Saint Pelagia and Saint James, circa 1860. This very fine antique Russian icon is painted in the a...

Peder Frederik Nordahl Grove (1822–1885) View from Dyrehaven, Klampenborg, 1873 Oil on canvas, signed lower right “Nordahl Grove 1873”. A winter scene from Dyrehaven at Klampenborg...

A black-yellow, dark green antique Austrian still life oil on canvas painting depicting a clear glass vase with many flowers painted by Franz Xaver Pieler in a hand carved, original gilded wood frame, in good condition. The colorful painting depicts a dining table in a DIM room, representing the 19th...

Peder Mønsted, 1859–1941 This atmospheric painting depicts a tranquil North African oasis where Bedouins and camels are gathered beneath towering palm trees. Rendered with Mønsted’s...

A good antique German Hand-Painted KPM porcelain portrait plaque signed "Wagner" after the painting "Reflection" by the Italian artist Angelo Asti (1847-1903). Asti was born in Milan...

This 19th-century English oil painting presents a finely observed study of a bay horse standing in a stable interior, rendered with a quiet naturalism characteristic of British sport...

More information coming soon… Signed and dated by the artist (Jules Bertrand Gelibert, 1904), this antique French painting depicts two French spaniels by the edge of a pond lined wi...

19th century oil painting of yorkshire flither pickers by robert farren circa 1890. Painted by robert b. Farren (1832-1912) This is a a skilfully executed and coloured oil painting...

A fantastic oil on canvas portrait from France, late 19th century, rendered in a stunning palette and technique that flatters the young lady’s complexion of angelic purity. The subje...

Victorian Classic Still Life Painting of Flowers from the late 1800's. The Antique Oil Painting is on panel and features a dark floral still life setting of a multi-colored Bouquet o...

This elegant antique equestrian portrait was painted in France circa 1860 and captures a refined lady posed beside her saddled horse, accompanied by a resting hunting dog in a tranqu...

This antique devotional oil painting was created in France circa 1680 and depicts the Madonna seated with the Christ Child across her lap, accompanied by a young angel in prayer. The...

A Very Fine and Large Italian 18th-19th century oval-shaped oil on canvas titled "The Triumph of Venice" After the original work by the master Paolo Veronese (Venice, 1528-1588). The original of this painting hangs in the Palazzo Ducale, Venice. The 'Ricci' coloration suggests a late 17th-early 18th century date. In 1715 Charles de la Fosse advised Ricci to paint only "Veroneses and no more Riccis", Venice, circa 1800s. Measures: Height: 45 1/4 inches (115 cm). Width: 29 inches (73.7 cm). Frame height: 58 1/4 inches (147.9 cm). Frame width: 43 1/4 inches (109.9 cm). Frame depth: 5 1/4 (13.3 cm). Provenance: Royal Academy of Scotland. Paolo Veronese (Born 1528, Verona, Republic of Venice - died April 9, 1588, Venice) was an Italian painter of the Renaissance in Venice, famous for paintings such as The Wedding at...

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...

Rich in architectural detail and Old World atmosphere, this pair of antique Continental townscape paintings is by British Victorian painter Henry Thomas Schafer (1854–1915). Crafted ...

A fine and large 19th century oil on canvas after Bartolomé Esteban Murrillo's (Spanish, 1617-1682) Masterpiece "Beggar Boys Playing Dice" (The original work by Murillo was painted in 1675). The impressive artwork depicts two young boys playing dice while another eats a piece of fruit as his dog watches on., within an ornate gildwood and gesso frame bearing a label from the faming company Bigelow & Jordan. The original work by Murillo is currently at the Alte Pinakothek Museum in Munich, Germany. The present work is signed: L. Rüber. Circa: Munich, Late 19th Century. Bartolomé Esteban Murillo (born late December 1617, baptized January 1, 1618 – April 3, 1682) was a Spanish Baroque painter. Although he is best known for his religious works, Murillo also produced a considerable number of paintings of contemporary women and children. These lively, realist portraits of flower girls, street urchins, and beggars constitute an extensive and appealing record of the everyday life of his times. Murillo was born to Gaspar Esteban and María Pérez Murillo. He may have been born in Seville or in Pilas, a smaller Andalusian town. It is clear that he was baptized in Seville in 1618, the youngest son in a family of fourteen. His father was a barber and surgeon. His parents died when Murillo was still very young, and the artist was largely brought up by his aunt and uncle. Murillo began his art studies under Juan del Castillo in Seville. There he became familiar with Flemish painting and the "Treatise on Sacred Images" of Molanus (Ian van der Meulen or Molano). The great commercial importance of Seville at the time ensured that he was subject to influences from other regions. His first works were influenced by Zurbarán, Jusepe de Ribera and Alonzo Cano, and he shared their strongly realist approach. As his painting developed, his more important works evolved towards the polished style that suited the bourgeois and aristocratic tastes of the time, demonstrated especially in his Roman Catholic religious works. In 1642, at the age of 26, he moved to Madrid, where he most likely became familiar with the work of Velázquez, and would have seen the work of Venetian and Flemish masters in the royal collections; the rich colors and softly modeled forms of his subsequent work suggest these influences. In 1645 he returned to Seville and married Beatriz Cabrera y Villalobos, with whom he eventually had eleven children. In that year, he painted eleven canvases for the convent of St. Francisco el Grande in Seville. These works depicting the miracles of Franciscan saints vary between the Zurbaránesque tenebrism of the Ecstasy of St Francis and a softly luminous style (as in Death of St Clare...

A Chinese Qing Dynasty period framed painting from the 19th century of an official's wife with bird-adorned buzi, painted on a linen canvas. Created in the North-Eastern province of Shanxi during the Qing dynasty, this 19th century painting showcases a frontal depiction of an official's wife recognizable thanks to the bird-themed rank badge sitting on an elegant armchair with scrolling arms and carved apron. Wearing a red robe and topped with an ornate headdress, the figure is highlighted with gold foil accents and stands out beautifully on a linen canvas. The print size is 17.5"W x 41.5"H. These paintings traditionally come from Shanxi province which was home to many of the wealthy merchant families associated with the imperial court during the Qing dynasty. Set inside a custom made frame, this 19th century Qing Dynasty official's wife painting...

CLAYTON DAVID INSLEY (Canadian 1908-1987) - 'Late Afternoon Snow in the Muskoka District' - Post Impressionist winter landscape oil painting on prepared hardboard - the painting feat...

English Country style gilt framed oil painting of horse (Silvo) and jockey wearing purple shirt (signed)

This handsome pair of English sporting paintings by Alfred Wheeler (1851–1932) captures two complementary moments during a traditional fox hunt, one depicting a mounted rider clearin...

A charming and atmospheric late 19th-century oil painting depicting an idyllic pastoral riverside scene, signed and dated 1888. Executed with delicate tonal transitions and a poetic ...

Three original mixed media paintings on panels by Jourcin with gilded accents, circa 1962. Signed Price is per painting.

This is an absolutely stunning and finely painted KPM Berlin Plaque after Paul Thumann's (1834-1908) 'Kunst Bringt Gunst' (meaning 'Art wins heart'), sign...

An English oil on board painting from the late 19th century depicting a hunting scene and set in antique frame. Created in England during the last quarter of the 19th century, this o...

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 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...

Decorate a wall with this large and colorful oil on canvas painting. Painted in Paris circa 1970 and set in a thick carved gilt frame, the artwork beautifully captures the vibrant at...

A fine Italian 19th century oil painting on canvas "La Madonna della Seggiola" after Raphael (Raffaello Sanzio da Urbino 1483-1520) The circular canvas depicting a seated Madonna holding an infant Jesus Christ next to a child Saint John the Baptist, all within a massive carved gilt wood and gesso frame (all high quality gilt is original) which is identical to the frame on Raphael's original artwork. This painting is a 19th Century copy of Raphael's Madonna della Seggiola painted in 1514 and currently exhibited and part of the permanent collection at the Palazzo Pitti, Galleria Palatina, Florence, Italy. The bodies of the Virgin, Christ, and the boy Baptist fill the whole picture. The tender, natural looking embrace of the Mother and Child, and the harmonious grouping of the figures in the round, have made this one of Raphael's most popular Madonnas. The isolated chair leg is reminiscent of papal furniture, which has led to the assumption that Leo X himself commissioned the painting, circa 1890-1900. Subject: Religious painting Measures: Canvas height: 29 1/4 inches (74.3 cm) Canvas width: 29 1/4 inches (74.3 cm) Painting diameter: 28 1/4 inches (71.8 cm) Frame height: 57 7/8 inches (147 cm) Frame width: 45 1/2 inches (115.6 cm) Frame depth: 5 1/8 inches (13 cm).   Raffaello Sanzio da Urbino (Italian, March 28 or April 6, 1483 - April 6, 1520), known as Raphael, was an Italian painter and architect of the High Renaissance. His work is admired for its clarity of form, ease of composition, and visual achievement of the Neoplatonic ideal of human grandeur. Together with Michelangelo and Leonardo da Vinci, he forms the traditional trinity of great masters of that period. Raphael was enormously productive, running an unusually large workshop and, despite his death at 37, leaving a large body of work. Many of his works are found in the Vatican Palace, where the frescoed Raphael Rooms were the central, and the largest, work of his career. The best known work is The School of Athens in the Vatican Stanza della Segnatura. After his early years in Rome much of his work was executed by his workshop from his drawings, with considerable loss of quality. He was extremely influential in his lifetime, though outside Rome his work was mostly known from his collaborative printmaking. After his death, the influence of his great rival Michelangelo was more widespread until the 18th and 19th centuries, when Raphael's more serene and harmonious qualities were again regarded as the highest models. His career falls naturally into three phases and three styles, first described by Giorgio Vasari: his early years in Umbria, then a period of about four years (1504–1508) absorbing the artistic traditions of Florence, followed by his last hectic and triumphant twelve years in Rome, working for two Popes and their close associates. Raphael was born in the small but artistically significant central Italian city of Urbino in the Marche region, where his father Giovanni Santi was court painter to the Duke. The reputation of the court had been established by Federico III da Montefeltro, a highly successful condottiere who had been created Duke of Urbino by the Pope - Urbino formed part of the Papal States - and who died the year before Raphael was born. The emphasis of Federico's court was rather more literary than artistic, but Giovanni Santi was a poet of sorts as well as a painter, and had written a rhymed chronicle of the life of Federico, and both wrote the texts and produced the decor for masque-like court entertainments. His poem to Federico shows him as keen to show awareness of the most advanced North Italian painters, and Early Netherlandish artists as well. In the very small court of Urbino he was probably more integrated into the central circle of the ruling family than most court painters. Federico was succeeded by his son Guidobaldo da Montefeltro, who married Elisabetta Gonzaga, daughter of the ruler of Mantua, the most brilliant of the smaller Italian courts for both music and the visual arts. Under them, the court continued as a centre for literary culture. Growing up in the circle of this small court gave Raphael the excellent manners and social skills stressed by Vasari. Court life in Urbino at just after this period was to become set as the model of the virtues of the Italian humanist court through Baldassare Castiglione's depiction of it in his classic work The Book of the Courtier, published in 1528. Castiglione moved to Urbino in 1504, when Raphael was no longer based there but frequently visited, and they became good friends. He became close to other regular visitors to the court: Pietro Bibbiena and Pietro Bembo, both later cardinals, were already becoming well known as writers, and would be in Rome during Raphael's period there. Raphael mixed easily in the highest circles throughout his life, one of the factors that tended to give a misleading impression of effortlessness to his career. He did not receive a full humanistic education however; it is unclear how easily he read Latin. Early Life and Works His mother Màgia died in 1491 when Raphael was eight, followed on August 1, 1494 by his father, who had already remarried. Raphael was thus orphaned at eleven; his formal guardian became his only paternal uncle Bartolomeo, a priest, who subsequently engaged in litigation with his stepmother. He probably continued to live with his stepmother when not staying as an apprentice with a master. He had already shown talent, according to Vasari, who says that Raphael had been "a great help to his father". A self-portrait drawing from his teenage years shows his precocity. His father's workshop continued and, probably together with his stepmother, Raphael evidently played a part in managing it from a very early age. In Urbino, he came into contact with the works of Paolo Uccello, previously the court painter (d. 1475), and Luca Signorelli, who until 1498 was based in nearby Città di Castello. According to Vasari, his father placed him in the workshop of the Umbrian master Pietro Perugino as an apprentice "despite the tears of his mother". The evidence of an apprenticeship comes only from Vasari and another source, and has been disputed—eight was very early for an apprenticeship to begin. An alternative theory is that he received at least some training from Timoteo Viti, who acted as court painter in Urbino from 1495.Most modern historians agree that Raphael at least worked as an assistant to Perugino from around 1500; the influence of Perugino on Raphael's early work is very clear: "probably no other pupil of genius has ever absorbed so much of his master's teaching as Raphael did", according to Wölfflin. Vasari wrote that it was impossible to distinguish between their hands at this period, but many modern art historians claim to do better and detect his hand in specific areas of works by Perugino or his workshop. Apart from stylistic closeness, their techniques are very similar as well, for example having paint applied thickly, using an oil varnish medium, in shadows and darker garments, but very thinly on flesh areas. An excess of resin in the varnish often causes cracking of areas of paint in the works of both masters. The Perugino workshop was active in both Perugia and Florence, perhaps maintaining two permanent branches. Raphael is described as a "master", that is to say fully trained, in December 1500. His first documented work was the Baronci altarpiece for the church of Saint Nicholas of Tolentino in Città di Castello, a town halfway between Perugia and Urbino. Evangelista da Pian di Meleto, who had worked for his father, was also named in the commission. It was commissioned in 1500 and finished in 1501; now only some cut sections and a preparatory drawing remain. In the following years he painted works for other churches there, including the Mond Crucifixion (about 1503) and the Brera Wedding of the Virgin (1504), and for Perugia, such as the Oddi Altarpiece. He very probably also visited Florence in this period. These are large works, some in fresco, where Raphael confidently marshals his compositions in the somewhat static style of Perugino. He also painted many small and exquisite cabinet paintings in these years, probably mostly for the connoisseurs in the Urbino court, like the Three Graces and St. Michael, and he began to paint Madonnas and portraits. In 1502 he went to Siena at the invitation of another pupil of Perugino, Pinturicchio, "being a friend of Raphael and knowing him to be a draughtsman of the highest quality" to help with the cartoons, and very likely the designs, for a fresco series in the Piccolomini Library in Siena Cathedral. He was evidently already much in demand even at this early stage in his career. Influence of Florence Raphael led a "nomadic" life, working in various centres in Northern Italy, but spent a good deal of time in Florence, perhaps from about 1504. Although there is traditional reference to a "Florentine period...

Celebrate the timeless beauty of florals with this refined 19th-century French still life painting, rendered in oil on canvas and presented in its original carved and giltwood frame....

Pair of 19th century paintings, signed Emile Ballue (1820-1886). Pair of paintings, representing forest landscapes by Emile Ballue (1820-1886), signed, with their original wood and ...

Joseph Bidzinski (American, active mid-20th century) Native American Ceremonial Procession, 1950 Oil on canvas A striking mid-century American figurative painting depicting a Native...

This delicate still life captures a vibrant bouquet of pansies in full bloom, arranged informally in a simple glass vase. Rendered in oil on canvas, the composition celebrates the fr...

A striking antique Chinese ancestor portrait depicting a seated male official in formal dress, dating to the late Qing dynasty, circa...

This elegant pair of antique wall pendants was crafted in France circa 1960 and features hand-painted genre scenes rendered under convex glass in the Rococo revival, Louis XV style. ...

Impressive Chinese late Qing dynasty four panel folding coromandel screen featuring carved soapstone. The lacquered panels are decorated with idyllic scenes of beauties in a pagoda p...

This late 19th-century American painting presents a Saint Bernard in a calm, attentive pose, rendered with a level of naturalism that reflects the period’s enduring interest in anima...

English 19th century oil on board painting depicting two setter-type sporting dogs in a natural landscape setting. The composition shows the pair moving alertly through tall grasses,...

Early 19th century “Portrait of a Man in a White Shirt”, from the French school. Showing a young gentlemen classically dressed for the p...

Decorate a wall with this beautiful and colorful painting. Painted on canvas in Paris circa 1890 and set in a thick carved and gilt frame, the artwork beautifully captures the vibrant atmosphere of La Madeleine in Paris, a neoclassical church known for its imposing columns. The scene is set in front of the church, where bustling market stalls display a colorful array of flowers, and elegantly dressed Parisians walk by. The artist skillfully contrasts the grand architecture with the lively street life, highlighting the charm of daily activities in the heart of Paris. The use of rich colors and detailed brushwork conveys a sense of warmth and vibrancy, encapsulating a timeless Parisian moment. The artwork is signed in the lower left corner by French artist, E. Thioulouze, a follower of Edouard Leon Cortes. The painting is in excellent condition with vibrant colors and dressed in a beautiful and elegant gilt frame. The Church of Sainte-Marie-Madeleine, or less formally, La Madeleine, is a Catholic parish church on Place de la Madeleine in the 8th arrondissement of Paris. It was planned by Louis XV as the focal point of the new Rue Royal, leading to the new Place Louis XV, the present Place de la Concorde. It was dedicated in 1764 by Louis XV, but work halted due to the French Revolution. Napoleon Bonaparte had it redesigned in the Neoclassical style to become a monument to the glory of his armies. After his downfall in 1814 construction as a church resumed, but it was not completed until 1842. The building is surrounded on all four sides by Corinthian columns. The interior is noted for its frescoes on the domed ceiling, and monumental sculptures by François Rude, Carlo Marochetti and other prominent 19th-century French artists. Edouard Léon Cortès (1882-1969) was a French painter of French and Spanish ancestry. He is known as "Le Poète Parisien de la Peinture" or "the Parisian Poet of Painting...

Bring rustic charm to your interior with this intimate and richly textured barnyard scene painted by Edmond van Coppenolle. Executed circa 1880, likely during the artist’s time in Fr...

A Swedish Naïf country oil painting with its original silver frame. This small rustic painting on thick paper is represents the typical Swedish life of the rural working class in Mid...

Contemporary South Asian traditional style gouache painting with gilt highlights - featuring the legendary lovers Dhola and Maru riding a camel from the celebrated Rajasthani folk ba...

A charming example of 19th-century Belgian animal painting, this antique oil on canvas depicts a colorful barnyard scene featuring a proud rooster surrounded by four hens. Crafted in...

Pair of John Gould hand colored framed lithographs family of toucans. "Pteroglossus Inscriptus" and " Pteroglossus Hypoglaurus" Each signed in plate. Printed by Charles Hullmandell. ...

Small Landscape Painting by Jean Claude Bédard, 1952, in Restored 19th-Century Gilded Frame This charming small landscape painting, signed and dated 1952 by Jean Claude Bédard, is a...

Richly colored and finely detailed, this antique floral still life was painted by Karl Ruperti during the late 19th century. Crafted in Belgium circa 1880, the oil on canvas presents...

A luminous and quietly evocative coastal scene by Argentine painter José Murcia, depicting fishermen returning ashore along the beaches of Málaga, Spain. Executed in a restrained, to...

Certified Kimono Meister work / Certificate of Authenticity included. One-of-a-kind Japanese textile art made from vintage obi fabrics. Sustainable artwork for modern interiors, collectors, boutique hotels, and lovers of Japanese aesthetics. [Size] 73 x 53 x 5 cm [Materials] Silk for the outside layer, wooden frame for the under layer, and gold leaf [Story behind the work] This is the second version of "Cranes: Kintsugi," created from the same kimono using a different section of the textile. Each artwork is handmade, and no two pieces are identical. The frame for this work is made of paulownia wood taken from antique Kiritansu, which are traditional chests of drawers for kimonos. I use antique kiritansu that can no longer be used as furniture to create the basis and frames for my works. It adds an even more authentic atmosphere of the traditional wabi-sabi spirit. Can you feel it? The piece uses the concept of kintsugi. It unites the pieces of antique kimono back together with golden leaf to give it a second wind as an artwork. [Period and Story] The kimono used in this piece was originally crafted during the late Showa period, around the 1960s to 1980s. [Explanation and meaning of pattern and colors] The Japanese saying goes, "A crane lives a thousand years, a tortoise lives ten thousand years," making cranes a symbol of longevity. Cranes are also known for staying with the same partner for their entire lives, which is why they are often used at weddings and other celebrations to symbolize marital bliss and the desire for harmony between husband and wife. On this particular piece, cranes are flying through snow woven on the fabric, as if they are overcoming all disasters to get to their beloved ones. The color scarlet, or deeply dyed red, used for most of the cranes here, has long been associated with the meaning of warding off evil. It is believed to possess the power to repel malevolent forces and invite good fortune. During the Heian period, from 794 to 1185, scarlet was reserved for sacred buildings and ceremonial objects that held great significance. Ordinary people were prohibited from wearing scarlet red kimonos, which made it a highly special color. [Characteristics of the fabric] Cranes, going up and down, are generously decorated by kimpaku here. Kimpaku refers to gold leaf or foil in Japanese. Gold leaf is a traditional material used in various aspects of Japanese culture, including art, crafts, and even in culinary applications. In traditional Japanese art, gold leaf is often applied to religious objects, sculptures, paintings, and lacquerware to create a luxurious and decorative effect. The use of gold leaf in art dates back centuries and is associated with a sense of wealth, prestige, and the divine. Traditional kimpaku technique is used here to make an accent decoration in the middle. [About the frame] This artwork frame is crafted from paulownia wood, a uniquely Japanese material closely tied to the world of kimonos, and it serves to convey the refined beauty of Japanese nature. Paulownia wood is known as the lightest wood in Japan, praised for its natural luster, resistance to moisture, and resilience against cracking. Since ancient times, it has been used in crafting furniture, chests, and musical instruments. Paulownia wood is closely linked to kimono culture. During the Edo period, it became customary to store cherished kimonos in paulownia chests...

A Captivating Vision: "Clown Avec Un Oiseau" by Charles Levier. This striking oil on canvas painting, titled "Clown Avec Un Oiseau" (Clown with a Bird) in French, is a captivating...

A dramatic maritime composition with strong movement and atmosphere, this large vintage oil painting captures several sailing vessels navigating choppy coastal waters beneath an expa...

English Victorian simple gilt framed oil landscape painting with 3 figures in background.

This early 20th-century Belgian oil on canvas painting presents a finely composed portrait of two racing pigeons, depicted in profile and set against a softly rendered rocky landscap...

Sharing similarities of a mid-17th-century Italian capriccio painting, this French oil painting from Provence depicts fantastical architecture set amongst the more realistic setting ...

Stunning set of four two-sided painted wood panels that were once a folding screen or room divider. The Italian panels feature parcel gilt framed scenes embellished with Chinese moti...

A set of three portraits, oil on canvas, early 18th-century paintings depicting the Princesses of Bourbon. Set of three portraits, oil on canvas, depicting the Princesses of Bourbon...

Certified Kimono Meister work / Certificate of Authenticity included. One-of-a-kind Japanese textile art made from vintage kimono fabrics. Sustainable artwork for modern interiors, ...

Oil on panel depicting a bearded gentleman in top hat. Signed lower left. Ornate wood and gesso gilded frame. Overall dimensions given below, the image size is 5.75 inches high X 4.5...