Gilt Wall Decorations

A striking Chinoiserie painting depicting Asian women playing music and dancing among pagodas, rendered in vibrant tones of green, burnt orange, brown, and gold. The composition is s...

Offered here is an exceptional Italian gilt wood wall shelf or wall console from the 1950s. Expertly hand carved from wood and finished with rich gold plating, this piece displays el...

Offered here is an exceptional Italian gilt wood wall shelf or wall console from the 1950s. Expertly hand carved from wood and finished with rich gold plating, this piece displays el...

JOHANN WILHELM WEINMANN (1683-1741) - PHYTANTHOZA ICONOGRAPHIE - Antique set of six framed 18th century first edition PHYTANTHOZA ICONOGRAPHIE botanical hand colored mezzotint engrav...

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...

Offered is an absolutely stunning, 1890s or older wall console or shelf. Minor patina gives this piece a classy statement. Made of hand craft wood and gilded. Use just as a decorativ...

Charming Italian Pair of Gold Leaf Painted Wall Shelves. This Florentine style set could certainly stand alone as a pair on a wall or functional to hold treasures on top. Wonderful c...

Exceptional later 18th / early 19thcentury Trophy of Armour, in the Neoclassical style, hand carved with areas of gilt finish, to the centre a Romanesque plumed helmet, overlaid on c...

A Large Pair of Italian Florentine Wall Brackets, Hand-carved and Giltwood. Each bracket features a serpentine top shelf above an elaborately carved support of scrolling foliage and ...

Gorgeous Italian Gold Leaf Wall Shelf. This bracket could certainly stand alone on a wall or functional to hold a treasure on top. Wonderful classic addition to any living room, dini...

This ornately carved panel was originally the lid of a 19th-century Chinese snack box, presented as a gift filled with popular snacks such as roasted...

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...

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...

French Neoclassical–Style Blackened Iron Wall Shelf, Art Deco / Moderne Revival This refined late 20th-century decorative wall shelf is executed in a French Neoclassical revival sty...

Good quality gilt coloured coat of arms. Central shield with acanthus decoration, flanked either side by outward facing standing greyhounds. Gilt has been worn through to allow the ...

Good size, partially gilt and great looking Gothic Revival bracket for displaying a Saint statue. This Gothic console for wall mounting da...

This wooden gilded wall corbel or shelf is beautifully constructed and ornamented with columns down the center with a floral final at the tip. This wood gilt piece would be a wonderf...

Wonderful oval stipple engraving after James Gillray Showing the meeting of Colonel Gardiner with his daughters before the Battle of Prestonpans. Set against the background of sterl...

A lovely pair of vintage Italian giltwood and gesso wall brackets or shelves from Florence, Italy, circa 1950. These stylish brackets have a hand carved scrolling acanthus leaf desig...

This is an exquisite pair of large Art Nouveau, cast iron, gilded shelf brackets from the early part of the twentieth century, most probably French. These fabulous shelf brackets e...

Gorgeous Italian Pair of Gold Leaf Wall Shelves. This set could certainly stand alone as a pair on a wall or functional to hold treasures on top. Wonderful classic addition to any li...

Set of Two Tall Italian Gilt Wood Wall Decorations. This set is impressive as wall sculptures, featuring small 5 shelves, in a living or dining room setting. Certainly a focal point ...

A peaceful French painting on canvas depicting landscape scene featuring a house or small castle in ruins, a water with a bridge nearby. The painting is contained in a simple gold le...

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 beautiful, colorful, soft, still life painting of a bouquet of spider mum flowers, circa late-19th century to early 20th century. Painting artwork, hand-painted in oil paint, depic...

A stunning pair of vintage Italian Hollywood Regency cream and gold porcelain wall brackets or shelves, circa 1950. In the style of Serge Roche and Dorothy Draper. These stylish brac...

A pair of large neoclassical Italian wall hanging plaster plaques, 20th century in the earlier Georgian style. Highly decorative, these reclaimed plaster plaques each display a neoc...

18th Century gilded wood three arm candleholder or fragment, beautifully constructed and ornamented throughout. This fragment was re-purposed and mounted on a Gustavian hand-painted ...

Victorian Pressed Flower Oddity, Botanical Art in Gilt Oval Frame, 19th Century Antique botanical composition featuring a delicate array of hand-pressed flowers and foliage, artfull...

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...

Wonderfully decorative color lithograph by Victoria (Vicky) Montesinos. It depicts an elegant lady from the Art Deco Period wearing a hat decorated with roses. The large hat covering...

A French Directoire period framed painted panel from the late 18th century, with floral motifs. Born in France during the later years of the 18th century, this exquisite decorative p...

Salvator Rosa last 17th century giltwood frame. Internal measurements cm 24 x 32.5 Pure example of Italian Salvator Rosa gild wood frame of 17th century. "Salvator Rosa" is the famo...

This is a super rare opportunity to acquire one of these beautifully reduced versions of the facade bas-relief of the Folies-Bergeres cabaret by Maurice Picaud aka Pico (1900-1977). ...

A Large and Impressive Early 20th Century Oil on Canvas "Madonna and Child" After Bartolomé Esteban Murillo (Spanish, 1618-1682) depicting a seated Virgin Mary with a baby Jesus Chri...

Louis XIV carved and giltwood wall bracket. The serpentine top with a gadrooned border, the pierced acanthus and c-scroll apron centred by a laughing satyr mask. Medium size will fi...

Pair Gilt Carved Brackets. Antique English gilt carved wood and plaster fluted wall brackets with acanthus leaf edge detail above fanned fluted console with toupie foot terminal. Eng...

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...

Pair of Italian Grand Tour–Style Green & Gilt Jasperware Intaglio Wall Plaques, Circa 1960s This elegant pair of Italian Grand Tour–style wall plaq...

Beautiful custom framed antique Swedish herbarium floral specimens, collected circa 1911. Handwritten names in lovely Latin script. Specimens include zigzag clover, milkwort, and mor...

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...

19th century Italian painting of Mary and Jesus on canvas with barite, selenite blades, scolecite, green aventurine, and aragonite and framed with 18th century Italian hand-carved fl...

A large polychrome and gilt limewood sculpture of an Angel in the Manner of Franz Ignaz Gunther, ca. 1770, Munich (Bavaria) Approximate size: 107 c...

HENDRICK VAN BALEN (Amberes, h. 1573 - 1632) “Alegoría de la abundancia” Óleo sobre cobre Medidas: 105 x 135 cm. (obra); 149 x 176 cm. (marco) En esta pieza el autor nos presenta un...

Elegant oil portrait shows of a young woman in three-quarter profile, painted with careful attention to the softness of her features and the sheen of her gown. Placed in a gilt frame...

A monumental oversized antique Japanese Imari porcelain charger plate hand painted in the traditional Imari colors with a beautiful pop of turquoise, circa 1900. This gorgeous charge...

Peder Als (1725–1775) Beautiful and atmospheric portrait of Queen Juliane Marie of Denmark (1729–1796), painted in the elegant Rococo style and attributed to the Danish court painte...

A nice decorative relief faceted and frosted glass wall plate, designed by Bjorn Wiinblad for Rosenthal. The glass plates have the original metal back to hang on the wall. signed. Di...

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...

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...

Marvelous antique Burmese Orchestra Hsian Wain drum/percussion hand carved, painted, gilded, and jeweled wall hanging panels, a pair. Beautiful condition, keeping in mind that this i...

A collection of various multi-colored and gilt cigar bands all with portrait heads. Including- Franz Joseph I, and other rulers. Along with a serrated round label with a bust in prof...

American gilt carved wood and gesso Eagle with extended wings perched on decorative acanthus floral motif, Early 19th century.  

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...

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...

Lofty pair of Italian wall ornaments handcrafted in wood in a grotto style composition with coral and seashells carved and painted with gilt highlights. Stamped Made in Italy on the ...

A lovely antique 19th-Century French Louis XVI style gilded bronze floral garland cornice applique wall swag ornament hanging decor. This petite wall swag has a beautiful gilt patina...

A fine and large 19th century oil on canvas after Bartolomé Esteban Murrillo's (Spanish, 1617-1682) "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...

This delightful 19th century oil on panel presents an intimate and romantic outdoor scene, capturing two refined ladies dressed in voluminous gowns seated in the countryside, near th...

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...