Continental Europe - Paintings

Jorge CAMACHO, signed. Mixed technique on paper, entitled “Clan of coyotes”, representing a totem, or a shamanic subject, on a background in pink tones and in its blond oak frame. ...

German post expressionism painting 'Male Chimera', 2000 by Ingrid Stolzenberg (former Ellmauer). Ingrid Stolzenberg lives and works near Frankfurt, Germany. She has been exhibiting h...

[Authentic work] ◆ Tetsuzan Yano ◆ Horai Sekkaku ◆ Landscape ◆ Double box ◆ Ehime Prefecture ◆ Hand-painted ◆ Silk ◆ Hanging scroll ◆ Tetsuzan Yano [Yano Tetsuzan] Art Yearbook app...

A pair of Art Nouveau watercolor paintings with nudes in original frames. By A. Crommen, 1918. Material: Watercolor on paper. Original glass and frame. Origin: Belgium. Size...

A fine 19th-century miniature oil painting depicting a European gentleman in period attire, showcasing remarkable attention to detail. Medium: Oil on panel Frame: Original wooden fr...

An oil on canvas, fixed to plywood, painting depicting a park with a monastery in the background. The painting is closed in an oak frame, ornamented from the inside with a molding p...

Contemporary abstract artwork by Adrian. Untitled. Mixed-media on metal.. In good condition, with minor wear consistent with age and use, preserving a beautiful patina. M...

Lovely Art Deco painting, portrait of a young lady in the make-up room. painting is gouache / chalk on paper. It is framed with a beautiful passe-partout, from the same time, in a si...

Antique German oil painting "Portrait of a Maiden" dated 1901 signed Konig,the author demonstrates good mastery in the use of colors and technique,the forest in the background,the wr...

ROCAILLE ANTIQUES This exquisite 18th century oil painting possibly depicts a portrait of Maria Anna Adelheid of Hohenlohe -Bartenstien (1701-1758) in the 18th century, framed bea...

Oil on Canvas of an old village in Provence, signed on the lower right-hand corner, by Louis Genevray, a French artist born in 1867. There is a signature as well on the back of the p...

Great Italian painting from the first half of the 20th century. Oil on canvas framework with romantic subject Walk in the park of good pictorial quality. Painting that depicts a very...

German school, unsigned but attributed to Lorenz Strauch, dated 1612. Oil on copper, ca. 10.5 x 13.0 cm. Including frame: 17.0 x 19.5 cm Portrait three-quarter facing, dressed in...

Painting, Oil on Panel, "Mediterranean Coastal Town," France, Circa 1930 Depiction of a coastal town in southern France or Algeria, location unknown. In the foreground, a herd of g...

SHIPPING POLICY: No additional costs will be added to this order. Shipping costs will be totally covered by the seller (customs duties included). A view of the Pitti Palace, Floren...

Rare Double painting on canvas. On the framed side a refined representation of the crucifix, on the other a depiction of the Virgin Mary holding the...

This beautiful lacquered and gilding painting has been made on a wooden panel. The painting represents Chinese characters, one of them riding a dragon. The scene is surrounded by sty...

A vibrant and expressive oil painting by Belgian artist Roland De Baere, this work captures a serene moment of natural beauty and human form. Rendered in richly textured brushwork, t...

Set of Three Vintage Paintings with People in Rococo Costumes A set of three paintings depicting two noble ladies and a noble man in Rococo costumes. Handpainted with enamel paint o...

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

Pair of paintings Violette & Capucine by Frédérique Tristant. Mixed media on canvas. France 2024. Also separately available. Frédérique Tristant is a French artist born in Vannes...

Anders Fogelin, Komposition, 1974 Color lithograph Number 97/200 Work with the artist's signature, title and individual number (in pencil) Working dimensions 61/69 The work is f...

Gold Background, Coronation of the Virgin. 14th century. Venetian work, point of polyptych, tempera and gold on reinforced poplar panel,.Surroundings of Lorenzo Veneziano (1336_1379)...

A delicate portrait of a Spanish figure from the early 19th century, painted on copper. The piece is elegantly framed in a small gilded wooden frame, showcasing the artistry and refi...

Contemporary abstract painting by Adrian. Untitled. 2018 Mixed-media on wood. Handsigned and dated on the back.

Very colorful painting of a water landscape with small sailing boats and trees in the background. The painting is not signed. The painting stands out because of its great use of colo...

A masterful example of 17th-century Dutch still life painting, this oil on canvas captures a lavish and meticulously rendered arrangement of fruit, emblematic of the Golden Age's fas...

Barbara Oldenburg was born in Berlin in 1943. These works of her Stand out because each painting contains relief accents. In one it's a pearl necklace, in the next painting there is another item that has been painted thick while the rest of the depictions remain flat and smooth. When you take a close look you will also find drinking glasses on each work, plus a bottle of wine. All works are signed and numbered and come with a black wooden framework. On some of the works the painting continues a bit on the framework. Measurements include frameworks. 1 Decent gentleman and lady together on an easy chair having a drink. Square shaped, 35 x 35 cm / 13.6 x 13.6 inch). 2 Gentleman with moustache together with his wife and baby, with their dog stepping...

Large, very well done oil on canvas representing the Portrait of a mathematician, a professor, leaning on his elbows and holding a ruler. This painting has a very beautiful frame, w...

18th Century, Three Italian Paintings Depicting Still Life by Michele Antonio Rapous (Turin, 1733 – 1819) Oil on canvas. Dimensions: cm H 78.5 x W 104.5 Available individually or as ...

Beautiful oil painting on canvas. A splendid marina at dawn with boats and fishermen. Excellent pictorial quality. No certain date of execution of the painting is written. Signed on ...

Italian painting of the late 19th century. Work oil on canvas, on the first canvas, depicting a wooded view with river in impressionist style. Pleasantly furnished and bright framewo...

Oil painting on canvas, signed left under: Adrien Paul Duerinckx. It is a view of a village Lillo, near Antwerp. It is painted with a loose touch in bright colors. The frame is made ...

English genre painter. Romantic scenery. Young couple. Oil on canvas. 19th century. In very good condition. The canvas measures 34 x 27 cm. The frame ...

very colorful Fixé-sous-verre (paint under glass), representing a scene of horsemen hunting buffalo, in an oval, on a black background Indo-Portuguese or Philippine work, 18th centu...

Giovanni Battista Innocenzo Colomba (1713 – 1793) Landscape with figures Oil on canvas, Frame H 102 x L 112 x P 8; canvas H 77 x L 87 The valuable painting, attributable to the pai...

Ove Jepsen (b. 1934), listed Danish artist. Acrylic on canvas. Abstract landscape. Late 20th century. The canvas measures: 80 x 60 cm. The frame measures: 1.5 cm. In excellent cond...

Lars Åkirke (Danish, 1926-2004) "Ild - Solen" (The Fire Sun), oil on canvas, 1980. Dimensions: 35 x 48.5 cm (visible image). Framed in a simple pine frame. Signed and dated on the re...

Oil on medium size panel by the Swiss painter Guy Dessauges. Made in the 1970s using his technique of superimposing "glazes" which gives the painting depth and a magnificent relief e...

Pair of naïve allegorical landscape paintings. Oil on canvas Signed Lieutenant Christian Georg V. Lind , 1837 and 1838. See text on the back. In original gilded Damgaard frames....

PORTRAIT OF D. MARIA BÁRBARA DE BRAGANÇA (1711-1758), QUEEN OF SPAIN Circle of Louis-Michel van Loo (1707-1771) Oil on canvas Her Royal Highness, the Infanta Maria Barbara of Braganza (1711-1758) was the first-born child of King John V of Portugal (1689-1750) and his queen consort Maria Anna of Austria (1683-1754). Born in December 1711, she had the Convent Palace of Mafra built in her honour following a vow made by her royal father. Her status as Princess of Brazil, inherent to 18th century Portuguese presumptive heirs, would however be superseded once the queen gave birth to two male princes, D. Pedro (1712-1714) and D. José (1714-1777), preventing her from ascending to the throne. Daughter of one of the most illustrious monarchs of his time, Maria Barbara was carefully educated to become a fond admirer of the arts, and of music in particular, having had the Italian composer Domenico Scarlatti (1685-1757) as her music teacher. On the 10th January 1723 the young princess was betrothed to the Infante Ferdinand of Spain (1713-1759), eldest son of King Philip V (1683-1746). Six years later, on the 19th January, she entered her new country in a carefully choreographed ceremony that became known to history as the “Exchange of the Princesses”. This unique event took place on a specially built Bridge-Palace, a wooden, luxuriously decorated structure that included various modules and rooms, on both banks of the river Caia, the natural border between the town of Elvas in Portugal and of Badajoz in Spain. Simultaneously, on the same day that the Portuguese Infanta crossed the border to marry the Spanish Crown Prince, her new sister in law, the Infanta Mariana Victoria of Bourbon (1718-1781), her husband’s sister, crossed the same bridge in the opposite direction to marry Prince D. José, the Portuguese heir to the throne. Once married, Maria Barbara would spend 17 years as Princess of Asturias, only becoming Queen of Spain at her husband’s accession following the death of Philip V in 1746. She is portrayed in the 1743 painting by Louis-Michel van Loo (1707-1771) now in the Prado Museum, in which Philip V had himself represented with all his close family. The new Queen would take an important role at court eventually becoming the liaison between her husband and the King of Portugal, particularly throughout the negotiations for the Treaty of Madrid (1746-1750). Maintaining her interest in music, she patronized the Italian castrato singer Farinelli (1705-1782) while remaining close to her old master Scarlatti, having herself composed some sonatas for a large orchestra. She would also commission and fund the building of the Royal Salesians Monastery complex in central Madrid, where both her and Ferdinand VI are buried. The portrait we are presenting for sale shows the Queen in half-length, turning left at three quarters. She is wearing a blue low-cut dress embroidered with flowers and foliage, over a lace cuffed white blouse, and an ermine cloak pined on the left-hand side by a diamond broach. The powdered hair style is held sideways by a seven diamond and black plume headdress and topped by a small gold and pearl crown. The right arm rests on a cushion while the left hand, at chest height, holds a miniature male portrait. The Infanta’s features are analogous to the 1725 portrait by the painter Domenico Duprà (1689-1770), also in the Prado Museum collection. Further similarities can be found in another portrait by Louis-Michel van Loo, in which a seven diamond and black plume headdress is also present. In this work, the cushion supporting Maria Barbara’s right arm has also some obvious similarities to our painting. The same diamond headdress reappears in Van Loo’s above-mentioned portrait of Philip V’s family dated from 1743. It is nevertheless in Lisbon’s Ajuda National Palace that it is possible to find an almost identical depiction of the Infanta holding a miniature portrait of her husband. In it, the future Ferdinand VI is portrayed facing right at three quarters and wearing a curly wig, suit of armour, the golden fleece insignia and a blue band, in a composition that closely resembles an 18th century Spanish school painting that appeared in the art market in January 2016. Another detail common to various portraits of the Portuguese Infanta and Queen of Spain is the small gold and pearl crown on her head. In another Van Loo painting, also from the Prado Museum, in which Maria Barbara is portrayed as Queen, this crown is represented together with a headdress similar to the one previously described. Another two paintings by the same artist, at the Royal Academy of Saint Ferdinand, include the same ornament. We must also refer the paintings by the artist Jean Ranc (1674-1735). In one, dating from 1729 (Prado Museum), the Infanta is depicted outdoors holding a flower bouquet and wearing a yellow silk dress with red cloak, and a set of diamond and ruby jewellery that includes a headdress similar to the one present in our portrait. Another work by the same artist, belonging to the Complutence University of Madrid, depicts the Infanta sumptuously dressed in identical colours to our painting and wearing an elaborate headdress and diadem. These portraits, beyond their iconographical importance as contemporary records of the Infanta and Queen Maria Barbara, are also illustrative of 18th century fashion for jewelled head dressing. Often, flowers were combined with joyful adornments, composing almost theatrical displays that would reinforce the ostentatious nature of the image. The ornamental flowers and the chromatic character of the jewels would complement the luxury of the colourful dresses in blue, crimson, green or other silk shades, in compositions whose sole purpose was to highlight a royal sitter’s wealth and power, becoming an essential statement accessory within the strict court protocols and codes of conduct. Circle of Louis-Michel van Loo (1707-1771) Slowly but steadily, the resolute, tranquil and dignified attitude of Renaissance and Baroque portraiture becomes artificial and presumptuous. Mid 18th century society favours elusive expression and psychological deepness, albeit limited to the face, that, with emphasis on detail, on the rich colour palette and on changing costumes and landscapes, associated to the courtliness of gestures, creates a strongly artificial environment while maintaining a highly poetic intrinsic character. Louis-Michel van Loo followed a dynasty of famous Dutch origin artists that had settled in France. Initially taught by his father, Jean-Baptiste von Loo (1684-1745), the younger van Loo studied in Turin and Rome and frequented the Paris Academy. In Rome he worked with his uncle Charles-André van Loo (1705-1765) and become a painter for the Turin Court. In 1737 he arrived in Spain being summoned by Philip V to succeed Jean Ranc as painter of the king’s chamber. In Madrid, his work covers the numerous Court commissions and the Royal Saint Ferdinand Fine Arts Academy, of which he was a founding member and director for the Painting department in 1752. Is production at court consisted essentially of numerous portrait paintings, often Royal gifts...

Hand painted sign from classroom door. Made around 1900s.

Orientalist watercolor in bright colors, representing a lively alley of people seated or walkig under a vine Framed watercolor: patinated oak frame and golden rod, framer Foord & Di...

Amazing painting by Léolaf, the artistic name of León Lafourcade, a French-born artist active between the 19th and 20th centuries. He participated in various exhibitions, including at the Salon des Artistes Indépendants. It depicts an equestrian scene of jockeys racing, capturing the energy and dynamism of the moment. An expressive use of brushwork is evident, with loose, fluid strokes suggesting movement and speed, especially in the background, with a diffuse or ethereal finish. The hazy atmosphere contributes to this feeling. The jockeys wear the characteristic red equestrian jacket...

Red chalk drawing of a reclining Female nude Signed and dated by Frank Dobson This drawing, never before on the market, comes from an important European private collection and is beautified by an antique frame in gilded wood, in almost perfect condition. The painting is also protected by glass Dimensions whit frame cm 71 x 58.5 Every item of our Gallery, upon request, is accompanied by a certificate of authenticity issued by Sabrina Egidi official Expert in Italian furniture for the Chamber of Commerce of Rome and for the Rome Civil Courts. Frank Owen Dobson (London 1886 – 1963) was a British artist and sculptor. Dobson began as a painter, and his early work was influenced by cubism, vorticism, and futurism. After World War I, however, he turned increasingly toward sculpture in a more or less realist style. Throughout the 1920s and the early 1930s he built a reputation as an outstanding sculptor and was among the first in Britain to prefer direct carving of the material rather than modelling a maquette first. The simplified forms and flowing lines of much of his sculptures, particularly his female nudes, showed the influence of African art. From 1946 to 1953 Dobson was Professor of Sculpture at the Royal College of Art. He was elected to the Royal Academy in 1953. While Dobson was one of the most esteemed artists of his time, is now seen as one of the most important British sculptors of the 20th century. Dobson grew up in Clerkenwell where attended school in Forest Gate. After eighteen months in Reynolds-Stephen's studio, Dobson moved to Devon and then to Cornwall where he lived, for two years, by selling landscape paintings. In 1906 he obtained a scholarship to study at the art institute in Hospitalfield House in Arbroath and studied there for four years. From 1910 to 1912 Dobson attended the City and Guilds of London Art School in Kennington, after which he returned to Cornwall. In Newlyn, he met Augustus John who used his influence and contacts and in, or around, 1915 Dobson created his first sculpture, a small piece in wood. In 1915, during the First World War, Dobson enlisted in The Artists Rifles and served in France from October 1916. In April 1918 he married Cordelia Clara Tregurtha. Dobson was formally invalided out of the Army in November 1918 and by then had already submitted several drawings to the British War Memorials Committee. Dobson set up a studio in the Tregurtha family home in Newlyn but towards the end of the war he took a studio in Manresa Road in Chelsea and would live there until the start of the Second World War. Throughout the 1920s Dobson focused increasingly on sculpture, exhibited work in several influential exhibitions and played a leading role in a number of artistic groups. He was the only sculptor to take part in the 1920 Group X exhibition. Dobson was a founding member of the London Artists Association and spent three years as President of the London Group between 1923 and 1927. He made bronze portraits of several public figures. At the Group X exhibition he exhibited two sculptures and studies of Ben Nicholson and his bronze head of H. H. Asquith was shown at the Leicester Galleries in late 1921. Other subjects included Osbert Sitwell, Lydia Lopokova and Tallulah Bankhead. Dobson exhibited at the Venice Biennale in both 1924 and in 1926, was featured in the 1925 Tri-National Exhibition which visited London, Paris and New York and was also included in the 1926 European artists exhibition that toured America and Canada. In March 1927 he had his first major one-man exhibition when the Leicester Galleries exhibited twenty-three of his sculptures and several bronzes. In 1930 the Tate purchased a larger-than-life sculpture from Dobson and erected it outside the gallery on Millbank. During the early 1930s Dobson continued to receive portrait commissions, most notably for Sir Edward Marsh and the actress Margaret Rawlings. Dobson worked in other media including textiles and silver, as well. His silver gilt cup, Calix Majestatis, to mark the coronation of George VI and Queen Elizabeth is now in the Royal Collection. During 1933 Dobson fractured his left arm which greatly limited his ability for heavy carving and his last monumental stone carving was to be Pax, which was first shown at the London Group in 1935. At the start of World War Two, Dobson and his second wife [Caroline] Mary Bussell, whom he had married in 1931, moved to Bristol, where a large retrospective of his work was held in March 1940. Dobson lived in the city throughout the Bristol Blitz and like several other artists painted the ruins of churches destroyed in the bombing. Dobson contacted the War Artists' Advisory Committee and offered his services as both a painter and sculptor. WAAC were reluctant to offer sculpture commissions but eventually did offer Dobson a short-term contract for two portrait busts of Naval personal. Later WAAC commissioned some paintings, including one of workers arriving for work at a factory that had been relocated to a tunnel. Dobson was appointed head of sculpture at the Royal College of Art in 1946, a post he held until his retirement in 1953. For the Festival of Britain site on the South Bank of the Thames in 1951, Dobson created London Pride. The sculpture was originally exhibited as a plaster cast but was later, after Dobson died, cast as a bronze and placed in front of the Royal National Theatre in 1987. Among his last commissions were a bronze head of Sir Thomas Lipton and the zodiac clock...

Mid-20th Century Wooden Wall Decoration With Porcelain Painting A porcelain painting depicting a genre scene, set in a decorative wooden frame. A repaired crack is visible at the bo...

1980s Spanish oil on canvas birds paintings with bamboo frame. Frame measurements: 95 x 68.5 x 2.5cm.

Les « p'tits poulbots », créés par Francisque Poulbot au début du XXe siècle, capturent avec humour la vie des enfants pauvres de Montmartre. Ces illustrations emblématiques ont évol...

Important watercolor painting representing a beautiful view of Rome with the Tiber, Castel Sant'Angelo and the dome of St. Peter's in the background. A typical work in the vein of th...

Italian painting dated 1945. Work oil on masonite depicting a particular view with characters Celebration of Spring of excellent pictorial quality. Nice size framework of pleasant de...

Hans Andersen Brendekilde (1857-1943) Painting “Girl in front of a farmstead in the snow”, oil on canvas, signed on the canvas lower right “HA Brendekilde”, dimensions with frame 61.5 cm in height and 74 cm in width. An exchange of letters from 1941 between a former owner of the painting and the artist has been preserved, in which she inquires with Brendekilde about the depicted farmstead and its location. In his reply, Brendekilde invites the writer to visit him in his studio on occasion and tells her about the farm depicted. The letters are written in Danish and also in a German translation. Hans Andersen Brendekilde * 07.04.1857 (in Odense) - † 30.03.1943 (in Jyllinge) 1871 - 1874 Apprenticeship as a carpenter and stonemason with Wilhelm Hansen in Odense 1877 trained as a flower painter with O. A. Hermannsen 1877 - 1881 Studied sculpture and painting at the Royal Danish Academy of Fine Arts 1882 Debut at the Charlottenborg Autumn Exhibition 1883 - 1885 Regular stay at the Raagelund art colony 1884 Name change to the place name of his native village of Brendekilde 1885 - 1907 Workshop work in the pottery of Hermann A. Kähler From 1888 Production of his own frames 1889 Participates in the World Exhibition in Paris and illustrates the book Nissen by Vilhelm Bergsøes 1889 - 1890 Study trip to Germany, France, Italy and the Netherlands 1893 Participates in the World's Fair in Chicago 1894 Illustration of the book The Night Watch by Henrik Pontoppidan 1894 - 1895 Study trip to Germany and Italy 1901 - 1904 Employed by Fyens Glasværk 1908 - 1909 Study trip to Italy since 1918 Retreat to Jyllinge 1922 - 1923 Study trip to Italy Brendekilde grew up in poor circumstances and began training as a carpenter and stonemason at the age of 14. After a preparatory course of several months in 1877 for the Royal Danish Academy of Fine Arts under Oluf August Hermannsen to become a flower painter, he began studying sculpture and later painting at the academy. In 1882 - one year after graduating - he made his debut at the Charlottenborg Autumn Exhibition. Born Hans Andersen, the painter changed his surname to the place name of his native village in 1884 to avoid any confusion with the distantly related Danish poet Hans Christian Andersen. From 1885 to 1907, Brendekilde worked in the pottery of Hermann A. Kähler, producing ceramic and glass sculptures. Although he had been carving picture frames since childhood, it was not until 1888 that he used his own frames for his paintings. Between 1889 and 1890, he embarked on an academy-sponsored study trip to Germany, France, Italy, Egypt, Syria and the Netherlands. A little later, in 1894 - 1895, he traveled to Germany and Italy again. From 1901 to 1904 he worked for the Fyens Glasværk. His last study trips took him to Italy between 1908 - 1909 and 1922 - 1923. From 1883, he regularly visited the Raagelund art colony, where he met H. P. Carlsen, Søren Lund and Julius Paulsen. From 1903, Brendekilde worked at Holckenhus - a studio association - where he worked together with Peter Severin as well as Marie Krøyer...

Large oil on canvas by Paul Ackerman, entitled « personnage dans l’arbre » (« character in a tree »). Biography Paul Ackerman, Romania-France (1908-1981) Paul Ackerman is a Romanian painter, lithographer, sculptor and theater designer, living in France since 1912, he belongs to the School of Paris . Paul Ackerman was four years old when, in 1912, his father, a company director and great art lover, decided, out of constraint in the face of « the anti-Semitism which is a harsh reality in Romania », to come and settle in Paris, in a large villa facing the Bois de Vincennes. He did his secondary studies at the Lycée Charlemagne (where he befriended Gabriel Arout, future playwright for whom he would later design the sets), then at the Ecole Alsacienne. From 1925, Ackerman studied law and letters at the Sorbonne, but, frequenting the Louvre Museum assiduously, he knew that his vocation lay elsewhere. In 1933, Paul Ackerman met Simone Laverrière, a native of Royan, whom he married in 1935. In 1936, in his studio at 100, rue du Faubourg Saint-Honoré, he designed projects for posters, fabrics and jewelry for Elsa Schiaparelli and Marcel Rochas while visiting Fernand Leger’s studio. In 1939 Paul Ackerman was mobilized, taken prisoner then released, he found his wife Simone in Vichy where he was expelled as a Jew and left for Saint-Tropez. He then leads a cloistered life in the south of France, made up of small means (painting on...

Paire de panneaux à décor " Arte Povera" Bois peint et papiers découpés, collés à motifs de cirque et funambules Italie (Venise) Fin XVIIIe siècle

Dimensions: Frame: Height 78.5 cm / width 108.5 cm / dep. 6 cm Image: Height 65.5 cm / width 96 cm.

Original color lithograph 'Scene Militaire' by Roger de la Fresnaye. Lithograph printed from an original painting made by the author in France, circa 1917. Published in France ...

Saidi Nakoko, Tingatinga, Tanzania, 1970s Oil on canvas Work signed by the artist Working dimensions 44/33 Framed work Tinga Tinga is an art style originating from East Africa. It w...

Unknown artist. Oil on board. Modernist still life. The 1960s. The board measures: 54 x 22 cm The frame measures: 10.5 cm. In excellent condition. Indistinctly signed.

Friedrich Karl GOTSCH (1900-1984), very well-known and renowned german painter of the golden era of expressionism, impressionism and „Neue Sachlichkeit“. Friend of many world-famous artists of the time. His extraordinary works can be found in many exhibitions and collections around the world. - Oil / Gouache on cardboard from 1945. New professional framed. Monogrammed „F...