{"title":"Antique Paintings in Large Period Frames","description":"\u003cp\u003e\u003cstrong\u003eA large period frame is part of the work, not its packaging.\u003c\/strong\u003e Carved, gessoed and gilded, it was made to be read from across a room, and it tells as much about where a painting hung as the canvas tells about what was seen.\u003c\/p\u003e\n\n\u003cp\u003e\u003cstrong\u003eThese frames measure at least thirty inches on their longest side.\u003c\/strong\u003e Some are contemporary with the paintings they hold, others were fitted later by a collector who thought the work deserved better. Gilding of this age carries its own wear, the red bole showing warm through the leaf along the ridges.\u003c\/p\u003e\n\n\u003cp\u003eA frame of this size settles a stair wall where a smaller picture would disappear.\u003c\/p\u003e","products":[{"product_id":"adoration-magi-flemish-old-master-oil-painting-17th-century-baroque-religious","title":"Flemish School, Adoration of the Magi, 17th Century Old Master Oil Painting, Framed","description":"\u003ch2\u003eThe Adoration of the Magi\u003c\/h2\u003e\n\u003cp\u003eThis oil on canvas presents the biblical episode of the three\nMagi paying homage to the infant Christ (Matthew 2:1-12). The scene\nis set within a ruined architectural setting, with the Virgin Mary\nholding the Child at center while the eldest king kneels in\nveneration. The two remaining kings stand nearby bearing gifts,\ndressed in rich robes of red, blue, and gold. Attendants and\nonlookers fill the background, creating a dense and animated\ncomposition. The warm palette, dramatic contrasts of light and\nshadow, and the carefully rendered fabrics and expressions are\ncharacteristic of Flemish Baroque painting from this period. The\ncanvas has been relined, indicating early conservation attention.\u003c\/p\u003e\n\n\n\u003ch2\u003eFlemish Nativity Painting in the 17th Century\u003c\/h2\u003e\n\u003cp\u003eThe Adoration of the Magi was one of the most popular subjects\nin Flemish art during the 17th century. Workshops in Antwerp and\nBrussels produced these compositions for churches, monasteries,\nand private devotional collections across Catholic Europe. Painters\nworked within an established visual tradition inherited from\nearlier masters, combining Northern realism in the treatment of\nfaces and textiles with Italianate architectural backgrounds.\nThese multi-figure compositions served both devotional and\ndecorative purposes, and were often acquired by collectors in\nFrance, Spain, and the Southern Netherlands.\u003c\/p\u003e","brand":"GalerieClub Fine Art","offers":[{"title":"Default Title","offer_id":57214931468620,"sku":"920","price":7900.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1048\/4911\/3420\/files\/Adoration_of_the_Magi_17th_century_Flemish_Old_Master_oil_painting_in_original_frame_baroque_religious_artwork.jpg?v=1778175417"},{"product_id":"fire-sodom-lot-daughters-flemish-old-master-painting","title":"The Fire of Sodom, Lot and His Daughters, Flemish Old Master Oil on Panel, Close to Gillis Mostaert, Framed","description":"\u003cp\u003eSodom burns in the middle distance, its towers and arcades collapsing into flame under a column of pale smoke that rises across the whole upper right of the panel. The light of the fire spreads along the plain and catches the ruins below. In the foreground, sheltered by a mass of rock and a great tree hung with a green cloth, Lot sits with his two daughters. One leans against him with her arm about his shoulders, the other holds a cup and a vessel and turns toward him, the moment from Genesis when the daughters give their father wine. A small dark figure stands alone on the path at the right, between the family and the burning city. The palette moves from the deep browns and greens of the rock and foliage to the reds and yellows of the fire, with the rose of Lot's mantle carrying the warm note forward into the foreground.\u003c\/p\u003e\n\n\u003cp\u003eThe destruction of Sodom and Gomorrah was a popular subject among Flemish painters in the late sixteenth and early seventeenth centuries. Artists in Antwerp and Brussels combined landscape painting with biblical narrative, placing small human figures in vast, dramatic settings. The tradition drew on the innovations of Joachim Patinir and Herri met de Bles, who had established the world landscape format in the early 1500s. By the 1590s, painters such as Gillis Mostaert and his circle were producing compact panels that paired carefully observed natural detail with scenes of divine punishment. These works were made for private collectors and often displayed alongside other Old Testament subjects.\u003c\/p\u003e\n\n\u003cp\u003eThe support is oil on wood panel assembled from two plates joined together, standard workshop practice in the Southern Netherlands during this period. The panel carries a horizontal slit at the middle right and small losses to the paint layer, visible in the photographs. It is unsigned and presented in an antique moulded wood frame with a dark patina, showing small gaps and age wear.\u003c\/p\u003e\n\n\u003cp\u003e\u003ca href=\"https:\/\/galerieclub.com\/blogs\/collecting-guides\/reading-attribution\" style=\"color:#7a1f2b;text-decoration:underline;\" title=\"Reading Attribution | GalerieClub Fine Art\"\u003e\u003cstrong\u003e→ What \"close to\" claims, and how it differs from \"after\"\u003c\/strong\u003e\u003c\/a\u003e\u003c\/p\u003e","brand":"GalerieClub Fine Art","offers":[{"title":"Default Title","offer_id":57214931960140,"sku":null,"price":8700.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1048\/4911\/3420\/files\/Fire_of_Sodom_with_Lot_and_his_Daughters_Flemish_Old_Master_oil_on_wood_panel_framed_biblical_painting.jpg?v=1778193761"},{"product_id":"mary-magdalene-penitent-italian-old-master-baroque-oil-painting-framed","title":"Italian Old Master Oil Painting, Mary Magdalene Penitent, 17th Century Baroque Original on Canvas, Framed","description":"\u003cp\u003eThe Magdalene is shown half length, turned slightly to her right, her eyes lowered toward a skull that rests in her open left hand at the lower edge of the canvas. Her right hand lies flat against her breast. Long red gold hair falls in heavy waves over both shoulders and down her back. A white chemise slips from the shoulder and is caught by a rose coloured drapery across the body, with a fold of deep red behind. Behind her, a mass of brown rock closes the left of the composition, while at the upper right the sky opens in cool blue and grey cloud. The light falls from the upper left across the face, the shoulder and the hands, and leaves the rest in shadow.\u003c\/p\u003e\n\n\u003cp\u003eThe Penitent Magdalene was among the subjects most frequently painted by Italian artists during the 1600s. The theme allowed painters to combine religious devotion with the study of the human figure, of drapery and of dramatic lighting. Artists across Italy produced versions of it, drawing on the influence of Caravaggio and his followers, who established the contrast between deep shadow and focused illumination. The half length format with vanitas objects such as the skull became a standard composition, repeated throughout the century in workshops from Rome to Naples, Bologna and Venice, and painted at this scale for the wall of a private room rather than for a chapel.\u003c\/p\u003e\n\n\u003cp\u003eThe canvas has been relined and carries small losses to the paint layer along the lower edge and fine surface stripes, visible in the photographs. It is unsigned and presented in an antique gilded wood frame showing general age wear.\u003c\/p\u003e","brand":"GalerieClub Fine Art","offers":[{"title":"Default Title","offer_id":57214938644812,"sku":"GC-RELI-17-001","price":12000.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1048\/4911\/3420\/files\/Italian_Old_Master_oil_painting_of_Mary_Magdalene_penitent_17th_century_Baroque_framed.png?v=1777653622"},{"product_id":"cherubini-bouquet-violets-oil-canvas-1931","title":"Bouquet of Violets in a Blue Vase, Signed Oil on Canvas, Dated 1931, Framed","description":"\u003cp\u003eA loose bouquet of violets and small pink and white blooms fills a round blue ceramic pot set on a dark surface, the flowers massed in soft violet, mauve and green against a deep red-brown ground. The warm, almost burgundy background pushes the cool flowers forward and gives the small canvas a grave, intimate mood. The paint is worked in thick, broken strokes, the petals built up wet into wet in the manner of the early twentieth century.\u003c\/p\u003e\n\u003cp\u003eThe painting is signed and dated 1931, and presented in a carved frame. The canvas is in good condition, its rich dark ground well preserved.\u003c\/p\u003e","brand":"GalerieClub Fine Art","offers":[{"title":"Default Title","offer_id":57214941462860,"sku":"110","price":2700.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1048\/4911\/3420\/files\/Carlo_Cherubini_signed_oil_painting_of_bouquet_of_violets_1931_French_Impressionist_still_life.png?v=1778534216"},{"product_id":"french-school-allegory-winter-oil-panel-17th-century","title":"French School, 17th Century, Allegory of Winter, Oil on Wood Panel, Framed","description":"\u003cp\u003eThe panel is divided in two by an upright post. On the left, an old man in a red cap and a fur trimmed robe sits close to an open hearth, his hands held toward the flames, in a bare room with a leaded window behind him. On the right, the ground opens onto a winter landscape under a pale sky. Figures work among leafless trees, one on a ladder cutting branches, another carrying a bundle of faggots, a third bent over a load on the ground. A man in yellow chops wood in the foreground while a companion slips on the frozen slope beside him. Behind them a group of thatched houses stands on a rise, smoke rising from a chimney. The palette holds to cool greys, whites and browns, with the only warmth gathered around the fire.\u003c\/p\u003e\n\n\u003cp\u003eAllegories of the seasons were a well established tradition in seventeenth century European painting, each season shown through its characteristic figures and labours. Winter set the shelter of the hearth against the hardship of the outdoors, and the old man by the fire stood for both the season and the last age of life. French painters of the Baroque period drew on Northern and Italian precedents for these compositions and adapted them to local formats, often as panels set into woodwork or hung as a set.\u003c\/p\u003e\n\n\u003cp\u003eThe panel is painted on both sides, with a second composition on the reverse. Double sided panels of this period usually come from a decorative programme where the support was later reused, and they are of particular interest to collectors and to conservators for what they show of workshop practice.\u003c\/p\u003e\n\n\u003cp\u003eThe panel carries vertical splits and areas of paint loss, expected on a wood support of this age, and the frame shows gaps. Both are visible in the photographs. The work is unsigned.\u003c\/p\u003e","brand":"GalerieClub Fine Art","offers":[{"title":"Default Title","offer_id":57215052874060,"sku":"270","price":4300.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1048\/4911\/3420\/files\/French_School_17th_century_oil_on_wood_panel_Allegory_of_Winter_interior_and_winter_landscape_composition.png?v=1778428279"},{"product_id":"couverchel-wedding-camel-desert-oil-canvas-19th-century","title":"Portrait of a Wedding Camel, Original Oil on Canvas by Alfred Couverchel, Signed, 19th Century","description":"\u003cp\u003eA single camel stands facing the viewer on a sandy track, dressed for a wedding. Over its back rises a tall canopied litter, its frame bound in bands of red, green and cream, and from its crown three dark plumes stand up against the sky. A deep fringe of woven wool falls from the litter over the animal's flanks on both sides, worked in blue green, brick red and cream, long enough to brush the ground.\u003c\/p\u003e\n\u003cp\u003eThe camel's own head is turned slightly to its left and its mouth is open. Its front feet are placed one before the other, so the whole load is caught in the moment of walking rather than standing still.\u003c\/p\u003e\n\u003cp\u003eBehind, low hills run across the picture in olive and khaki, dry and without vegetation apart from one green mass at the right. The sky above them is a flat clear turquoise. The ground is bare sand, warm and pale, and the animal throws a long shadow to the left, which places the sun low and to the right of the painter.\u003c\/p\u003e\n\u003cp\u003eSigned at the lower right, the canvas is presented in a wide painted frame, salmon brown on the outer mouldings and deep green on the inner panel, with quarter disc motifs at the sides. The frame shows small losses.\u003c\/p\u003e","brand":"GalerieClub Fine Art","offers":[{"title":"Default Title","offer_id":57215058149708,"sku":"300","price":12000.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1048\/4911\/3420\/files\/Alfred_Couverchel_signed_oil_painting_of_a_wedding_camel_in_the_desert_19th_century_French_Orientalist_art.jpg?v=1778587588"},{"product_id":"christ-samaritan-woman-well-oil-canvas-old-master-17th-century","title":"Christ and the Samaritan Woman at the Well, 17th Century Oil on Canvas, Framed Old Master Painting","description":"\u003cp\u003eChrist sits on the low stone kerb of the well at the left, in a red robe and a deep blue green mantle, barefoot, his right hand raised in the gesture of speech. The Samaritan woman stands facing him in a pale grey gown and a heavy ochre mantle, a copper bucket hanging from her right hand and the well rope still held in her left. Between them the flat stone of the kerb runs across the picture, empty, and it is that emptiness that carries the whole exchange.\u003c\/p\u003e\n\n\u003cp\u003eBehind them the landscape opens, with a dark tree closing the upper left, blue hills in the far distance and a pale clouded sky. On the right stands the town of Sychar in warm stone, with an arch at its foot, and two small figures are walking towards it. Those are the disciples, returning from the city as the Gospel describes, and putting them there is the detail that shows a painter who knew the text rather than merely the scene.\u003c\/p\u003e\n\n\u003cp\u003eThe meeting at the well, from the fourth chapter of the Gospel of John, was among the most painted of all New Testament subjects in the seventeenth century, and one of the very few showing Christ alone in conversation with a woman. Painters were drawn to it because it is a scene of dialogue rather than of action, where everything depends on two figures, a stretch of stone between them, and the gestures each makes. The iconography is fixed and easy to read once known. Christ is seated, because the Gospel says he was weary from the journey. The woman stands, and carries the vessel that brought her there. The well lies between them, and the disciples appear in the distance, coming back from the town where they had gone to buy food.\u003c\/p\u003e\n\n\u003cp\u003eThe canvas carries a horizontal tear on the right side and minor paint loss, visible in the photographs, and a mark on the reverse that remains to be identified. It is presented in a period ebonised frame with gilt scrollwork at the corners and star motifs at the centres, with some gaps in the surface.\u003c\/p\u003e","brand":"GalerieClub Fine Art","offers":[{"title":"Default Title","offer_id":57222043173196,"sku":"280","price":5300.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1048\/4911\/3420\/files\/Close-up_of_Christ_figure_in_conversation_with_Samaritan_woman_17th_century_oil_on_panel_warm_tones.png?v=1778608104"},{"product_id":"delacroix-circle-two-tigers-landscape-oil-canvas-19th-century","title":"Two Tigers in a Landscape, Oil on Canvas, French Romantic School, Mid-19th Century, Gilt Frame","description":"\u003cp\u003eTwo tigers rest at the foot of a dark rock face. The one at the right is upright on its forelegs, head raised and turned straight out of the picture, its face fully lit and its ears pricked. The second lies behind and to the left, its body stretched along the ground, tail lifted, its head lowered and turned away.\u003c\/p\u003e\n\u003cp\u003eThe setting is almost entirely dark. A mass of rock closes the right half of the canvas, and at the left a heavy plant with thick blade shaped leaves rises against the sky. Between them the ground opens on a narrow band of evening sky, pale pink and orange over a low horizon, with a slender tree drawn against it. A strip of green grass runs beneath the animals and carries the only cool colour in the picture.\u003c\/p\u003e\n\u003cp\u003eThe handling is rapid and open. The striped coats are laid in with broad directional strokes rather than described hair by hair, and the modelling of the two heads is the most finished part of the canvas.\u003c\/p\u003e\n\u003cp\u003eThe painting is unsigned. A cartouche fixed to the frame carries the name of Eugène Delacroix, and the reverse bears two marks, a stamp reading A.F. No 14 and a collection number E33311. The canvas shows loss to the paint layer, an old restoration in the lower area, and would benefit from cleaning.\u003c\/p\u003e","brand":"GalerieClub Fine Art","offers":[{"title":"Default Title","offer_id":57222047269196,"sku":"1300","price":12000.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1048\/4911\/3420\/files\/Oil_painting_of_two_tigers_in_a_landscape_attributed_to_Eugene_Delacroix_mid-19th_century_framed_French_artwork.png?v=1778598117"},{"product_id":"saint-john-baptist-oil-painting-mignard-circle-baroque","title":"Saint John the Baptist Embracing the Lamb, French School, 17th Century Oil on Canvas, Oval Carved Gilt Frame","description":"\u003cp\u003eThe lamb is painted with more care than the child. Its fleece is built in short white strokes over grey, its eye is drawn, and it looks out of the picture while the boy looks past you.\u003c\/p\u003e\n\n\u003cp\u003eOil on canvas, relined, 16 x 13 inches (41 x 33 cm), 21 x 18 inches (53 x 46 cm) framed. Unsigned. French School, circa 1670 to 1690, in a carved oval giltwood frame.\u003c\/p\u003e\n\n\u003cp\u003eA young child kneels with one arm around a lamb, a red drape falling from the shoulder across the hip, a reed cross with its white banderole held upright in the right hand. Behind him the ground is black, and at the right the picture opens onto a blue distance with a mountain and a low horizon. The attributes are those of Saint John the Baptist, the lamb, the reed cross and the banderole. The flesh is pearly and thinly built, the drape laid in broad planes of a single red, and the black ground is opened at one side only, which is the standard construction of a devotional oval of these decades.\u003c\/p\u003e\n\n\u003ctable style=\"width:100%;border:none;border-collapse:collapse;table-layout:fixed;margin:1.5rem 0;\"\u003e\u003ctr style=\"border:none;\"\u003e\u003ctd style=\"border:none;background:#faf7f1;padding:18px 22px;\"\u003e\n\u003cspan style=\"font-family:Helvetica,Arial,sans-serif;font-size:10.5px;letter-spacing:0.09em;text-transform:uppercase;color:#96763f;\"\u003eThe oval came first\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-family:Georgia,serif;font-size:15px;line-height:1.7;color:#2c2c2a;\"\u003eA canvas is cut to fit a frame, not the other way round, when the frame is the expensive part. This one is carved in two registers with a ribboned laurel and an outer garland of rosettes and fruit, work that cost more than the painting inside it. The oval format was not the painter's choice. It was the shape of the place on the wall where the picture was going to hang.\u003c\/span\u003e\n\u003c\/td\u003e\u003c\/tr\u003e\u003c\/table\u003e\n\n\u003cp\u003eThe canvas has been relined and sits on a new oval stretcher. The paint layer is stable with small losses at the top centre, and the frame carries losses to the gesso along the inner edge and to the ornament.\u003c\/p\u003e","brand":"GalerieClub Fine Art","offers":[{"title":"Default Title","offer_id":57228458623308,"sku":"980","price":6300.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1048\/4911\/3420\/files\/saint-john-baptist-child-lamb-french-school-17th-century-oval-gilt-frame.png?v=1787496238"},{"product_id":"allegory-autumn-french-oil-panel-17th-century-young-woman-framed","title":"French School, Allegory of Autumn, Oil on Wood Panel, 17th Century, in its Painted Frame","description":"\u003cp\u003eShe has stopped working. The pruning hook is still in her right hand, but her eyes are closed and her head has fallen back against the trunk, and the fruit she has gathered is spilling out of a basket at her feet.\u003c\/p\u003e\n\n\u003cp\u003eOil on wood panel, 23 x 18 inches (58 x 46 cm), 30 x 25 inches (76 x 64 cm) framed, unsigned. French School, seventeenth century, in its painted frame.\u003c\/p\u003e\n\n\u003cp\u003eA young woman sits at the foot of a fruit tree on the right, barefoot, in a loose golden dress. She holds a bound sheaf of fruit and flowers against her shoulder and a small curved pruning hook in the other hand. The tree above her is hung with red fruit among dark leaves. To the left the ground opens onto a cut field with sheaves lying on the stubble, and beyond it a group of thatched farm buildings stands among tall trees, with a pale sky breaking low on the horizon. The whole panel is worked in warm browns and golds, and the figure and the fruit carry all the light.\u003c\/p\u003e\n\n\u003ctable style=\"width:100%;border:none;border-collapse:collapse;table-layout:fixed;margin:1.5rem 0;\"\u003e\u003ctr style=\"border:none;\"\u003e\u003ctd style=\"border:none;background:#faf7f1;padding:18px 22px;\"\u003e\n\u003cspan style=\"font-family:Helvetica,Arial,sans-serif;font-size:10.5px;letter-spacing:0.09em;text-transform:uppercase;color:#96763f;\"\u003ePainted on the back as well\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-family:Georgia,serif;font-size:15px;line-height:1.7;color:#2c2c2a;\"\u003eThe four rails carry a running honey strapwork on brown, and the same ornament continues on the reverse of the panel itself. Nobody decorates the back of a picture that is going to hang against a wall. This one was set into something, a panelled room or a piece of furniture, where both faces could be seen, and it has kept the mounting it was born with. The frame is not a frame. It is what is left of the joinery.\u003c\/span\u003e\n\u003c\/td\u003e\u003c\/tr\u003e\u003c\/table\u003e\n\n\u003cp\u003eShe is one of four. The seasons were painted as sets for private interiors, each one a young woman with her attributes, and the other three are somewhere else.\u003c\/p\u003e","brand":"GalerieClub Fine Art","offers":[{"title":"Default Title","offer_id":57228513837388,"sku":"GC-SCEN-17-002","price":3920.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1048\/4911\/3420\/files\/french-school-allegory-autumn-oil-panel-17th-century-painted-frame.png?v=1787394932"},{"product_id":"snyders-follower-poultry-yard-oil-canvas-circa-1700","title":"Dutch School, Hen and Chicks in a Farmyard with a Windmill, Oil on Canvas, Circa 1700, Framed","description":"\u003cp\u003eChicks everywhere, and not two the same colour. Yellow, grey, brown, one of them still shapeless with down, scattered around the white cockerel at the centre of the yard.\u003c\/p\u003e\n\n\u003cp\u003eOil on canvas, relined, 25 x 36 inches (64 x 91 cm), 27 x 38 inches (69 x 97 cm) framed, unsigned. Dutch School, circa 1700, in a later gilt frame.\u003c\/p\u003e\n\n\u003cp\u003eThe cockerel is the only thing in the picture given any real finish. His plumage is built in short parallel strokes of grey, pale straw and broken white, laid side by side rather than blended, the comb and wattles in a red that appears nowhere else, and the eye a single dark point ringed in light. A hen stands behind him with her tail spread. To the left a chick pecks at the rim of an earthenware pan. The whole foreground is a stage of trodden earth, straw and a fallen beam, and the ground rises behind to a broken wall with a post mill standing against a yellow sky beyond.\u003c\/p\u003e\n\n\u003ctable style=\"width:100%;border:none;border-collapse:collapse;table-layout:fixed;margin:1.5rem 0;\"\u003e\u003ctr style=\"border:none;\"\u003e\u003ctd style=\"border:none;background:#faf7f1;padding:18px 22px;\"\u003e\n\u003cspan style=\"font-family:Helvetica,Arial,sans-serif;font-size:10.5px;letter-spacing:0.09em;text-transform:uppercase;color:#96763f;\"\u003eA formula that outlived its century\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-family:Georgia,serif;font-size:15px;line-height:1.7;color:#2c2c2a;\"\u003eThe poultry yard with a distant windmill was invented in Holland in the middle of the seventeenth century and painted there for a hundred and fifty years afterwards. By the date of this canvas it had left the cabinet and gone into the house, painted at the size of an overdoor for people who wanted the subject rather than the name. That is why the birds are finished and the architecture is not.\u003c\/span\u003e\n\u003c\/td\u003e\u003c\/tr\u003e\u003c\/table\u003e\n\n\u003cp\u003eThe paint at the upper left is thinned to the ground in long vertical passages, so the ruined wall and the sky read unevenly and the architecture is now more suggested than described. The birds, the foreground and the landscape to the right are sound, under a fine age craquelure. The canvas is relined on a later keyed stretcher.\u003c\/p\u003e","brand":"GalerieClub Fine Art","offers":[{"title":"Default Title","offer_id":57228517441868,"sku":null,"price":6700.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1048\/4911\/3420\/files\/dutch-school-hen-chicks-farmyard-windmill-oil-canvas-circa-1700-framed.jpg?v=1787352014"},{"product_id":"emile-michel-pastoral-shepherdess-oil-canvas-1872-realism","title":"Emile Michel, Girl with Turkeys at the Edge of the Wood, Signed and Dated 1872, Oil on Canvas in a Carved Gilt Frame","description":"\u003cp\u003eTwo oaks side by side, one still in full summer green, the one beside it already turned to rust and bronze. The whole picture hangs on that difference.\u003c\/p\u003e\n\n\u003cp\u003eOil on canvas, unlined, 18 x 25 inches (46 x 64 cm), 36 x 33 inches (91 x 84 cm) framed. Signed E. Michel lower left and dated 72. French, in a carved giltwood frame with an acanthus and berry frieze and shell cartouches at the corners.\u003c\/p\u003e\n\n\u003cp\u003eA girl in a blue skirt stands in the stubble under the trees with a flock of turkeys around her feet, white and bronze birds scattered across the shorn field, some standing, most settled in the warm grass. The wood runs back in a long diagonal to a low horizon on the left, where the land opens out and a bank of grey weather sits over the distance. Each bird is built with a few loaded strokes and none of them is repeated.\u003c\/p\u003e\n\n\u003cp\u003eThe paint is dry and worked wet into wet in the field, where the stubble is scratched in with the tip of the brush over a warm ground. The foliage carries more body, laid in small dabs that leave the sky showing between the leaves.\u003c\/p\u003e\n\n\u003ctable style=\"width:100%;border:none;border-collapse:collapse;table-layout:fixed;margin:1.5rem 0;\"\u003e\u003ctr style=\"border:none;\"\u003e\u003ctd style=\"border:none;background:#faf7f1;padding:18px 22px;\"\u003e\n\u003cspan style=\"font-family:Helvetica,Arial,sans-serif;font-size:10.5px;letter-spacing:0.09em;text-transform:uppercase;color:#96763f;\"\u003eA fortnight in September\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-family:Georgia,serif;font-size:15px;line-height:1.7;color:#2c2c2a;\"\u003eThe field is cut, one oak has turned and the other has not, and the cumulus is high and hard edged. That combination lasts about two weeks in the north of France. A painter working out of doors had to take it when it came, which is why the picture is dated and why the turkeys are in the stubble, put out to glean what the harvest left.\u003c\/span\u003e\n\u003c\/td\u003e\u003c\/tr\u003e\u003c\/table\u003e\n\n\u003cp\u003eThe frame has a loss to the composition at the upper left corner, scattered chips along the edges, a break in the beaded fillet and an open joint at a corner. The canvas itself has never been relined and sits on its original keyed stretcher, which is why the surface still carries the drag of the brush in the stubble.\u003c\/p\u003e","brand":"GalerieClub Fine Art","offers":[{"title":"Default Title","offer_id":57228521341260,"sku":"210","price":6700.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1048\/4911\/3420\/files\/emile-michel-girl-with-turkeys-oak-wood-signed-1872-oil-canvas-gilt-frame.png?v=1787332142"},{"product_id":"gallant-scene-garden-french-old-master-oil-panel-17th-century-framed","title":"17th Century French Oil on Panel, Gallant Scene in a Garden, Old Master Baroque Original, Framed","description":"\u003cp\u003eThe garden is a plan seen from above. The parterre at the lower right is drawn in flat geometry, beds and gravel and a fountain, while the couple beside it are painted in full relief. Two conventions in one picture.\u003c\/p\u003e\n\n\u003cp\u003eOil on wood panel, 23 x 18 inches (58 x 46 cm), 30 x 25 inches (76 x 64 cm) framed, unsigned. French School, late seventeenth century, in a moulded wooden frame with painted scrolling decoration.\u003c\/p\u003e\n\n\u003cp\u003eA gentleman in a long grey coat sits at the left, a folded paper in one hand, and holds out a tulip toward a young woman in red beside him. Her hair is dressed in tight curls at the temples with a red ribbon, over a wide lace collar. A winged Cupid stands at their feet with a wreath in his hands and a basket of flowers at his side. Behind them a brick tower with a lantern rises against a pale sky, and the ground falls away to a wooded valley with cottages, a boat on the water and a distant range of hills. The parterre closes the composition at the lower right.\u003c\/p\u003e\n\n\u003ctable style=\"width:100%;border:none;border-collapse:collapse;table-layout:fixed;margin:1.5rem 0;\"\u003e\u003ctr style=\"border:none;\"\u003e\u003ctd style=\"border:none;background:#faf7f1;padding:18px 22px;\"\u003e\n\u003cspan style=\"font-family:Helvetica,Arial,sans-serif;font-size:10.5px;letter-spacing:0.09em;text-transform:uppercase;color:#96763f;\"\u003eThe wig dates the picture\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-family:Georgia,serif;font-size:15px;line-height:1.7;color:#2c2c2a;\"\u003eHe wears the full wig of the last years of Louis XIV, piled high and parted into two masses falling forward over the shoulders. She wears her hair in tight curls at the temples under a ribbon, the woman's fashion of the same years. Both were gone within a generation, replaced by the smaller tied wig and the higher coiffure of the Regency. Nothing else in the picture fixes a date so closely.\u003c\/span\u003e\n\u003c\/td\u003e\u003c\/tr\u003e\u003c\/table\u003e\n\n\u003cp\u003eThe frame is a moulded wooden profile with painted scrolling decoration on a dark ground.\u003c\/p\u003e\n\n\u003cp\u003eThe panel is sound on its battens. The joint between the two boards is open along its length, with paint loss along the line and the red ground showing through. A fine age craquelure runs across the whole surface, and the frame has gaps at the mitres.\u003c\/p\u003e","brand":"GalerieClub Fine Art","offers":[{"title":"Default Title","offer_id":57228529107276,"sku":"GC-SCEN-17-003","price":4800.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1048\/4911\/3420\/files\/17th_century_French_oil_on_panel_gallant_scene_in_a_garden_Old_Master_Baroque_painting_framed.png?v=1777657620"}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1048\/4911\/3420\/collections\/francois-aubert-roses-cherries-garden-table-signed-oil-canvas-gilt-frame.jpg?v=1788181272","url":"https:\/\/galerieclub.com\/collections\/large-framed-antique-paintings.oembed","provider":"GalerieClub Fine Art","version":"1.0","type":"link"}