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Antique European Peony Oil Painting, Circa 1900

Antique European Peony Oil Painting, Circa 1900

Regular price $850.00 USD
Regular price Sale price $850.00 USD
Sale Sold out

A dense armful of peonies in white, cream, and deep wine red, packed into a blue and white decorated pitcher and set against a russet damask drape. The painter built the flower heads up in heavy impasto, so the white petals carry real ridges of paint and catch the light the way the actual blooms would. Oil on canvas, relined, bearing a signature at the lower right that I cannot make out. It sits in an ornate carved giltwood frame with foliate scroll corners.

Details
Artist
Unidentified
Signature
Bearing a signature at the lower right, worked into the drape, not legible
Medium
Oil on canvas
Subject
Still life of peonies in a blue and white pitcher
Origin
Continental European, likely French
Age
Antique, circa 1900
Canvas Size
24 in. W x 31.75 in. H
Frame Size
28.5 in. W x 36.5 in. H
Format
Vertical rectangle
Frame
Carved giltwood with foliate scroll corners and a fluted inner course, gilt losses and chips at the corners
School or Movement
Academic Realism. The style taught in the official European art academies through the 19th century and carried well into the early 20th, built on careful drawing, close observation, and a worked surface. In still life it shows up as controlled arrangement and a real command of texture, here in the way the heavy white peony heads are modeled petal over petal against a quiet ground.
Support
Oil on canvas, relined onto a second canvas. Keyed wooden stretcher with mortise and tenon corners and the keys in place. Hand driven tacks, no staples. The reverse carries a red stamp and stencilled format numbers in the French and Belgian colourman convention, consistent with a commercially prepared Continental canvas.
Condition

Oil on canvas, relined onto a second canvas. The relining has stabilized the original canvas against further age related movement. The paint surface is stable, with heavy impasto standing proud in the flower heads and finer handling in the ground and drape. There is scattered surface grime and light spotting visible in raking light across the whole surface. I have not cleaned it and am describing it as it came to me. Craquelure is present and consistent with the age of the work. Hand driven tacks around the edges are oxidized. The reverse carries a red stamp and stencilled format numbers.

The frame is carved giltwood with foliate scroll corners and a fluted inner course. It shows gilt losses, chips, and scattered wear, most visible at the outer corners. It reads as the period frame the work has carried, not a later replacement, though I cannot state that it is original to the painting.

 

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