Gilt Paintings

Hans Zatzka, Austrian (1859-1945) A Fine Oil on Canvas "Portrait of Haunz Javorasky Als Knabe Dressed as a Sailor" within a carved gildwood frame. The charming portrait depicts a sea...

Decorate a powder room, a study or a den with this elegant pair of antique paintings. Hand painted in France circa 1920 and signed by the artist, F. Blanco, each colorful artwork on ...

Fantastic Early 20th Century Oil Painting of Venice showing the Marcus Place from the Water. It was probably painted around 1904. The Painting is framed in a 18th Century gilded Frame...

Decorate an office or study with this colorful antique painting. Created in England and set in the original ornate and carved gilt wood frame, the artwork painted on board depicts an...

Portrait of a young woman. Good general condition, missing parts of the frame. Signed and dated. France, 1919. Céline-Alice Winter-Schahl was born in Strasbourg in 1863 and died in...

Pair of Paintings on Porcelain, Village Landscapes, early 20th century. Pair of paintings on porcelain, representing village landscapes, beautiful wood and gilded stucco frames, 19t...

A very accurate depiction of a hillside in Les Baux-de-Provence, France, this oil on canvas painting by Jules Felix Brien is surrounded by a gold leaf papier-mâché frame adorned with...

A fascinating oil on canvas painting depicting a group of monks in a wood carving studio, this oil on canvas was painted by Giovanni Torriglia in the late 1800s. The darkened tones used by Torriglia (black and brown) are offset by a gilt frame with foliate details above a deep cavetto molding. Five monks are gathered around a workbench inside a workshop covered in shadows. One of the young monks, who is wearing glasses, is manipulating a sheer green fabric across the only light source: a shuttered window behind our quintet. Two senior clergymen sit behind the workbench on slatted Savonarola chairs. They gaze with delight at a junior monk hammering a chisel into wood, sculpting a winged angel. A final youthful monk leans on a wonderfully carved sgabello chair, watching the apprentice closely. The colors are splendid, accentuated by tiny nuances such as the wood chips on the floor, various completed sculptures behind the monks, and a green-leafed tree visible outside the window. Giovanni Battista Torriglia...

Oil Painting on Canvas signed Maurice Braun, 1902 Listed Artist A very lifelike rendering of a European street scene with houses. This early 20th Century painting features houses ...

Stellar Frederick Harer Gold Gilt Wood Frame Circa 1920-1930’s. A Beautiful carved and signed gold glit wood frame. Dimensions outside 26 inches wide by 28 inches high and 2 inches d...

Warren W. Sheppard (American, 1858-1937), Yacht race, possibly the America's Cup, signed lower right. The yacht in the foreground appears to be flying the flag of the New York Yacht Club. The painting is in a lovely giltwood frame that appears original. Please Note: The painting will be professionally packed and crated for shipping. Dimensions: 22"h x 40"w (stretchers) 31"h x 50"w (frame) Condition: Good. Evidence of repair to rear of canvas (see photographs). Shows well. Ready to hang. Provenance: A Private Collection: Wilton, CT Biography: Warren W. Sheppard (1858 - 1937) Warren Sheppard, was an American marine...

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...

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...

Silvio Bicchi (1874 Livorno-1948 Florence) La Mucca, The Cow. Pupil of G. Fattori. Charming pastel of a young cow in a gilt gesso and wood carved frame. Italy, first quarter twentie...

Dimensions: (FRAME)-H: 7 3/4in W: 9 1/8in D: 1 3/4in (PAINTING)- H: 4 1/2in W: 5 7/8in D: 1 3/4in This Miniature Antique Neoclassical Grand Tour Style Oil Painting On Board of A ...

This is a magnificent example of an Art Deco version of Madonna’s Immaculate Conception painted in ca 1920s Era in Vienna. Masterfully done, the painting has very dramatic bright Color scheme-typical for this period. It is definitely a great fit and a conversation piece for any kind of home, either contemporary, traditional or modern. The Painting is set in a dramatic large heavy 19th century gold gilded frame...

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...

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...

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...

1920's oil painting on board of landscape. Landscape oil painting on board with a liner and gilt wooden frame.

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...

An Italian early 20th century oil on panel "Mother and Daughter" attributed to Ottorino Pugnaloni (Italian, 19th-20th century) depicting an outdoor farm scene of a young peasant moth...

The watercolor of a Paris street scene by A. Paly (1889-1979) is framed in a beautiful 19th century frame. The gouache dates from the early 20th century and conveys the French attitude to life with just a few brush strokes. The frame is colloquially called "Berliner Leiste". (or also Waschgoldleiste, or Schinkelleiste) The frames of this type mostly come from the middle of the 19th century and are nowadays very popular for framing modern art...

Decorate a lady's office or study with this elegant antique oil on canvas painting. Created in Hungary circa 1920 and set in a carved giltwood frame, the artwork, titled "Portrait of a girl in a hat...

This is a KPM style hand painted plaque depicting a scene of a Middle Ages romantic couple in a pastoral landscape. There are some winged cherubs playing around them and also a peasa...

"Dancers" 20th Century modernist Latin American school oil on board. Signed lower right margin "Faldes". A full length interior portrait of two dan...

Still life artwork, antique oil painting, Still life with fruit  proposed here is an oil painting on canvas of the Twentieth Century.  It also has an original Golden Frame. It is a composition with grape and fruit some vegetables and some tomatoes and some garlic, with a nice white ceramic vase nearby. Antique paintings on canvas, still life, Art Deco, signed DYF at the bottom right a French painter who was born in Paris but grew up in Normandy. DYF Marcel...

Hamilton Hamilton (American, 1847-1928) A large and impressive oil on canvas "Othello and Desdemona" after the William Shakespeare's play "Othe...

A half-length portrait of a young lady, her costume à la Turque and wearing a double strand of large and lustrous pearls. She is deep in somewhat pensive thought, her right hand resting lightly against her chin, her left hand gently clasping the neck of a pottery flask...

Decorate a kitchen wall or an office with this elegant pair of antique paintings; crafted in Holland, circa 1920, each artwork is set in the original carved oak and gilt frame; each painting depicts a pastoral countryside scene in the summer and winter with farmhouse, farmer and horse. Both subject matters are signed in the lower right corner by two different artists, H. Hermans and J. Lencor? The paintings are in excellent condition, with rich colors. Wire in the back for easy installation. H. Hermans was a self-taught painter; he is know as a follower of louis Apol...

Early 20th Century Oil on Canvas of an Italian girl in a mountain landscape painted by Carl Forup, a pupil of Henri Matisse. Circa 1930.

T. Hansen (1848 - 1912). City wall with tower, presumably "Rothenburg ob der Tauber", Germany. Oil on canvas. Signed I.T. Hansen 1911. Jo...

A rural painting with a boy in there stable wit a cow and calf. Signed left under Julius Paul Junghanns. Austria, 1876-1958. Oil on canvas. With a woode...

Painted on canvas and dressed on in the original carved gilt frame, the artwork depict a pastoral and landscape scene with village in the background, in the post-impressionist manner...

Eugenio Zampighi (Italian, 1859-1944) A fine and charming Italian 19th/20th century oil on canvas Titled "A Joyous Family" depicting an interior scene of a seated joyous mother with her smiling toddler child on her lap, as her young daughter amuses them while holding a small kitten picked-up from the cat...

Chinese School landscape ink painting on gilded silk by Yukimatsu Shunpo, signed and dated 1924. Yukimatsu Shunpo was born in Oita in 1897 and studied under Himejima Chikugai in Osak...

This majestic landscape painting at nearly 5 feet long (including frame) depicts a grand mountain view of the Swiss Alps in winter. It was painted by the Swiss artist Hans August Haas, born 1866 in Basel. The view looking down the pine tree covered mountain shows a line of mountain huts in deep powder...

Two framed panels by Yamamoto Shunkyo depicting a carp (koi) leaping from a river. Ink and gold leaf on paper. Instinctively brushed in a freehand s...

Found in France, an oil on linen landscape painting, mounted in a wide, gold-leafed wood frame, signed and dated 1919. Painted by the French artist Marc Mongin, the scene is typic...

American oil on board portrait of horse landscape in the original gold gilt floral frame. Signed James Weiland, (1872-1968) New York, Early 20th cent...

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

1930s pointillism style still life painting depicting pottery vessels. Original gold leaf, museum quality frame. Deep, rich color palette. Laura Mills was a tennis pro in the 1920s i...

English oil painting on artist board, depicting a sailor with a lady. The frame has some shrinkage cracking,

Beautifully painted landscape forest scene with stream in original giltwood frame, watercolor under glass. Signed in the lower right corner L. Douglas. American, early 20th century. ...

Painted in the manner of Leon Cortes or Eugene Galien Laloue, these gouache on canvas paintings were created in Paris, France, circa 1900. The highly detailed scenes are set inside carved gilt frames with a protecting glass on top. One of the paintings depicts "Les Grands Boulevards," the other shows "La Place de la Madeleine," both of which are well-known Paris landmarks. From the first motor cars to the Victorian costume...

Portrait of a Lady American painter wall mount Art Decorative painting framed LA , Portrait of Irene Dobson , 1914 Robert Knight Ryland (American, 1873–1951). At the beginning of Wor...

Very fine and large KPM porcelain plaque of The Three Fates German, c.1908 Frame: height 90cm, width 77cm, depth 9cm Plaques: height 53cm, width 43cm, ...

This fine oil painting on canvas of a winter snowy scene is signed and dated M. Norgoard 1912. This painting sold in as found contion is framed in its original frame. The painting co...

Beach, Etretat. Oil on canvas signed R. Carrington, Circa 1910, in a giltwood frame. English school. A wonderful painting, suffused with summer light, in an Impressionist style. Som...

Jean Dufy Watercolor Still Life Estate Stamp Contemporary Art painting antiques . It is a watercolor on paper by Jean Dufy who was a French Art Deco impressionist painter. IT IS NOT A LITOGRAPH, it’s an Original. In a modern interior design or an old world charm traditional , decorative object for interior decoration design , A perfect gift during the holiday season , or special house warming present . It will be a great addition to your special collection in a library as part of the bibelot . in a bathroom , library , entryway , living room , bedroom . Part of a gallery wall in a simple way to bring style and personality to any room and fits with Modern Art . Executed in bright pastels of blues, greens etc . Signed lower middle, Jean Dufy . Still Life by Dufy (1888-1964) French School /Watercolor / Signed with Estate stamp with old frame Jean Dufy was the younger brother of Raul Dufy . He came from a family which was very open to the arts. This great Contemporary Art is part of our collection at the Antique gallery Dealer West Hollywood CA Melrose Ave La Cienega Blvd. From the age of fourteen he showed an artistic gift which was encouraged by Raul. He studied at l’ecole des beaux-arts du Havre, but quit to Rejoin his brother in Paris. His showing in 1920 at the salon D’automne established himself in the art society. Measures: Height 24” Width 21 ½” Not to confuse it with "Color Lithograph". Past Sold Art...