Gilt Wall Decorations

With a distinct hand, the painter has affectionately captured this child's delicate spirit. Highly detailed and of the utmost of skill, this painter showcases his/her abilities quite...

This abstract painting by little known Los Angeles artist is a fine example of color abstraction. The painting portrays an abstract ballerina dancer. The painting has been newly fram...

We kindly suggest you read the whole description, because with it we try to give you detailed technical and historical information to guarantee the authenticity of our objects. Pair of prints engraved by burin and painted in watercolor; both are a tribute to Cupid; the name Cupid - meaning desire, lust - was given by the Romans to the Greek god of love, actually called Eros. Alternatively, he was called just Love always by the Latins. As the son of Aphrodite, goddess of love, he, like his mother, was capable of any act, even deplorable. In the first print, which has been cut out and shaped, there are two young girls offering God a basket of fruit and a goblet of wine; in the second print a mature woman is about to be hit by Cupid's love arrow; both prints have been made with a beautiful burin engraving, then finished with delicate watercolors. The frames are handmade in gilded wood. The prints were made between 1850 and 1855 by Adrien Nargeol (see signature) a prolific and talented French engraver and were published in the "Journal des Demoiselles...

Large Italian gilt iron floral wall sconce. Adorned with five elaborate tiger Lilly flowers. This unique sconce adds texture and depth to any w...

These elaborate and deeply carved panels are mid-20th century. The carving is very detailed and on a rather deep heavy wooden panel. All the raised areas are richly detailed and gild...

Henry John Yeend King R.B.A, R.I., R.O.I. (British, 1855-1924) "A Victorian Lady Standing by a Sundial in the Park" Oil on panel. Signed lower right: Yeend King. "YK" Sticker en ver...

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

A rare group of twelve 19th century ceramic Minton & Co. tiles in later frames, depicting the artistic retelling of nursery rhymes by English illustrator, Walter Crane (1845-1915). T...

In the present work small handcut tiles of pure white Carrara marble are the background of this interesting contemporary mosaic which represents one of the most celebrated landmark in Florence. The facade of the church of Santo Spirito (Holy Spirit), designed and built by Brunelleschi, is created with precious beige-colored Botticino marble tiles and surrounded by a frame of small black glass glazed paste tiles. Carrara and Botticino are among the most famous Tuscan marbles that’s why the local mosaic artist and craftswoman- who creates this superb work of art- decided that the mosaic featuring the most important symbol of Florence should be made of these materials. To make the composition more interesting, two different types of Carrara marble were used: the statuary white marble is matte and the white Carrara marble called "zuccherino" (sugary) is more sparkling. The random alternation of these two marbles give a pleasant vivid and three-dimensional effect to the entire mosaic tile. Each small rectangular and squared tesserae are hand cutted and each one of these mosaic is one of a kind. The mosaic plaque has a wood panel as support and the tile is housed in hand painted giltwood frame. The tile on sale and immediately available now is 15x15 cm and reproduces the church of Santo Spirito (Holy Spirit)- as you can see in the main image- but many other mosaic with the most important symbols and monuments of Florence are available as the Old Bridge, Santa Maria Novella, Florence's Cathedral with the Brunelleschi's dome or the Lily symbol of the city and so on, as showed in the photos. These white and black marble mosaic tiles...

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...

Oil on board depicting a summer landscape with a leafy tree in the center, a figure fishing in the lower right, blue rolling hills in the distance and set against a cornflower blue c...

Agnes Slott-Møller, 1862-1937. Summer Residence "Villa Nostra," oil on canvas, in a contemporary gilded wooden frame designed by the artist. Signed: Agnes Slott-Møller 1909-11. "Vi...

Decorate a den, study or office with this large antique cow painting. Hand painted in France circa 1860 and set in the original carved blackened ...

Wenzel Ulrik Tornøe (Danish, 1844-1907) A very fine and large oil on canvas titled "Systue" ("The Sewing Room"). The finely executed artwork depicting the interior of a sewing room w...

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...

A French pastel still-life painting from the 19th century depicting a bouquet of tulips on grey background, in gilded frame. A lovely French pastel still-life painting from the 19th ...

We kindly suggest you read the whole description, because with it we try to give you detailed technical and historical information to guarantee the authenticity of our objects. Russian Constructivism...

Decorate an office or study with this elegant pair of antique paintings. Crafted in France circa 1870, the artworks hand painted on board, are set inside the original beautiful carve...

A pair of superb and monumental 1700's Italian gilt wood angel wall shelves. These hand carved wood wall bracket shelves have incredible details and wonderful gold leaf gilding. Such...

Pair Neoclassical Gilt and Ebonized Wall Brackets

A good antique Italian Grand Tour miniature hand-painted portrait on a porcelain plaque of Beatrice Cenci after the original by Guido Reni (1575-1642), the painting in a gilt brass m...

An Incredible and Quite Rare 19th Century KPM Porcelain Plaque after Gerrit Dou (Student of Rembrandt, Titled "The Schoolmaster" c. 1671. The porcelain plaque is incredible with the...

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...

These antique colorful watercolors were crafted in France circa 1780, set in the original giltwood frames with glass protection, each art work depicts a courting scene with a young g...

Antique Polish Icon of The Great Martyr Theodore Stratelates (our best hypothesis). Our purported Antique Polish Icon of the Orthodox Icon of Saint Theodore the General, Commander, S...

Charles Chaplin (French, 1825-1891) Portrait de la famille Gros, placed in an ornate hand carved gilt wood frame. signed and dated 'Ch. Chaplin. 1860' (lower left) oil on canvas Dim...

A vintage hand done needlepoint of Neuschwanstein Castle, Bavaria, Germany, presented In a regal hand carved gilt wood frame. Neuschwanstein Castle was built in the 1800s and is loc...

Carved Fruitwood Plaque of Virgin and Child Madonna, after Donatello Sculpture . A Large Beautiful 18th/19th Century Carved Relief Fruitwood partially gilt of “ MADONNA AND CHILD” , ...

Tableau italien du 20ème siècle. Oeuvre à technique mixte sur masonite représentant vue de la rivière avec bateaux de bonne qualité picturale, signée en bas à droite (voir photo). Ca...

Original Modern Contemporary acrylic painting in antique frame by Shannon Weir. Signed in bottom right. This beautiful original art was made in 2022, but ...

Pair of English Nobel figural oil on canvas oval portraits of male posing with hunting canine companions and female sitting in garden posing with flowers and lamb. Paintings have bee...

This elegant antique painting was created in France circa 1830. Set in the original carved gilt wood frame, the hand painted canvas depicts a mother and daughter picking sea shell on...

" Carved, lacquered and gilded 18th century woodwork " Carved, lacquered and gilded wood door paneling in the Louis XVI style, 18th century. h: 74,5cm, l:95cm, p: 7cm

Fine quality pair of French 19th century gilt bronze (electrotype technique) relief plaques. Children in backyard farm, garden scene.

Late 1800s Antique American Victorian Painted Portrait of a child in its Original Rosewood Frame. With a distinct hand, the painter has affectionately captured this child's delicate ...

Decorate an office or a study with this elegant and colorful set of antique wall decor. Crafted in Italy circa 1950, each stone plaque is set in a ornate and carve gilt wood frame. E...

Italian Neoclassical gilt carved wood and painted arched glass display case with flanking acorn finials, bell flowers, original glass, interior adjustable shelves, and resting on cla...

Pair Chinoiserie painted and Giltwood wall brackets.

Decorate an office or study with this elegant pair of antique paintings. Crafted in France circa 1870, and signed in the lower right corner "d'apres Debat-Ponsan", each artwork is ha...

An original 18th century silvered and carved pine eagle, circa 1780. Likely once used as an architectural pediment, this architectural eagle ornament i...

M/1693 - Wonderful unique old curtain rod : large 194 cm. ! with a rich coping - single piece - See all sides at the bottom of the description - No comment. You can see.    

Each decorated with a Chinoiserie figure engaged in a leisurely pursuit; with black banding throughout.

Oil on mahogany panel depicting marshy grasses and green fields with a waterway in the foreground, purple mountains in the far off distance. Presented in a gilt frame made by the art...

John Peter Kornbeck 1837-1894. "Motif" Marketplace at Lake Garda, Italy. Oil on canvas. Signed P. Kornbeck, 1886. A charming and atmospheric motif

A black lacquered and gilt wood Victorian foldable fire screen Composed of four panels, each one with Petit point tapestry upholstery, two of them decorated with stylized horses, th...

This antique oil on canvas pastoral cow painting is signed and dated (1889) by the artist, “J. Bergmann ‘89”. Because Bergmann used an vertically oriente...

Beautiful oil painting on panel depicting Christ, made with a chalky preparation which gives brightness and depth to the figure. The work can be attributed to a Venetian painter or o...

Pair of oval oils on canvas, still lifes representing fruits and flowers. Gilded carved wooden frames. Signed P, Galanti - Italian painter 1885-1973.

Meaningful and a monumental masterpiece: “La Vierge d'Albert” piece of the golden Virgin) by ), cast by Barbedienne, 1916. Step into the poetic depths of history with this extraordi...

Marie Philips-Weber (German, 1845-1942) oil on canvas "Reading a Book" depicting a young maiden reading a book, within an ornate gilt and gesso frame. Signed: M. Weber Philips (l/r),...

This very fine drawing in Sanguine is from the early 19th century. Made as a preparatory sketch concerning composition, musculature and shadow this work is unsigned but we have four ...

A wonderful pair of large 19th century carved giltwood gothic frames painted with two beautiful Angels in the manner of Fran Angelico, I have never seen these on such a large scale. ...

Each boldly carved with furling oak leaves.

Decorate a wall with this colorful antique painting. Created in France, circa 1960 and signed in the lower right corner by French artist, Andre Vignoles, the oil on canvas is framed ...

Francesco Ballesio (Italian, 1860-1923). A fine orientalist pencil and watercolor heightened with gum Arabic on paper figure of "A Middle-Eastern Beauty at Rest" depicting a young maiden resting on a Persian rug laid down as a bed while holding a tambourine and next to a Moroccan ivory-inlaid octagonal table with a tea pot on top. Signed and inscribed 'Ballesio Roma Tivoli' (upper right). All within an ornate rococo gilt wood and gesso carved frame with a protective glass, Rome, circa 1890-1900, Frame height: 23 inches (58.4 cm). Frame width: 30 1/2 inches (30.5 cm). Frame depth: 2 1/4 inches (5.7 cm). Paper height: 15 inches (38.1 cm). Paper width: 21 1/2 inches (54.7 cm). Literature: A similar subject matter watercolor is catalogued and illustrated in Caroline Juler, "Les Orientalistes...

A Curtis Jere style, large, gilt metal wheat sheaf wall sculpture.

This one-of-a-kind antique Italian Empire Period folding screen is a masterpiece of early 19th-century craftsmanship, dating most likely from 1801 during the Republic of Lucca. Pain...

A beautiful painting of modest size, made in oil on canvas and framed in a carved and gilded wooden frame. The painting depicts the portrait of a young woman with her hair gathered a...

A French Restauration period octagonal framed oil on canvas still-life painting from the early 19th century, depicting a bouquet of flowers. Born in France during the reign of King L...

'Market Square in Wijk bij Duurstede' - Vintage lithographic Architectural print on paper with white hand painted highlights - titled (in Dutch) in the lower margin - signed in the p...