(…) before inscribing the exhibition number on the frame of each of the works represented. Although (…) before inscribing the exhibition number on the frame of each of the works represented. Although (…)
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(…) have already been acquired with the help of FRAM, and will become part of the permanent collection (…) have already been acquired with the help of FRAM, and will become part of the permanent collection (…)
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(…) government (Fonds du Patrimoine), the Région Grand Est (FRAM) and the Département de la Haute-Marne, a (…) (Fonds du Patrimoine), the Région Grand Est (FRAM) and the Département de la Haute-Marne, a (…)
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(…) Real. Set in an elegant neoclassical gilded bronze frame, this relief depicts a bust of the Virgin (…) labels stuck to the back of the bronze frame are perfectly authentic and have made it possible (…)
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(…) some extent, but above all a frame had to be found for it, (…) Delanoy's works had a Barbizon-style frame, made of wood and gilded stucco (…) at the museum without its original frame, and had to be replaced so (…)
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(…) by a wide fir border serving as a frame left unfinished. The compositions, executed in ink, depict (…) the original mounting on the reverse of the frame of the drawing are several inscriptions, one of (…)
(…) the Fonds du Patrimoine and the FRAM Normandie, for 39,000 euros ( (…) the Fonds du Patrimoine and the FRAM Normandie, on 4 November 2022, (…) piece - with the support of FRAM Normandie - is the Vase with Two (…)
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(…) in cartouches, an exact replica of the original frame" as the sales catalogue notice states, painted (…) a "full size" copy with an identical frame legitimises the acquisition by enabling the restoration (…)
(…) Signed and dated 1899, with a fine frame bearing the title The Pale Complexion of True (…) generation. ---------------- Contrary to the indications on the frame, the title The Pale Complexion of True Love (…)
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(…) it was fitted with a silver and gilt frame around 1670. The foot is shaped like a (…) a standing nude figure, the rest of the frame is identical to the one in Washington. Both (…)
(…) already pointed out, the black frame in which the Portrait of Charlotte (…) was only an evocation of its original frame, by Bruno Schneidereit! ---------------------------------------------- In September (…)
(…) for a bronze door handle to gilded silver frame inlaid with lapis lazuli, let us content ourselves (…) (ill. 15), which has retained its original exhibition frame and passe-partout, is a vivid testament to (…)
(…) gallery, the composition was separated from the ugly frame that encircled it at the time of its (…) halfway up, Diana is posed in a green frame bathed in light and observes the viewer while (…)
(…) scenes, in grisaille, within a trompe-l'œil frame, is supported by two angels, while putti and (…) a garland of flowers surrounding the frame of the central scene complete the decoration (ill (…)
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(…) . Blanc's four sketches, grouped in the same frame (ill. 1), represent Morality, History (ill. 2), (…) considerable size - over 1.30 wide including the frame - which makes a remarkable contribution to the (…)
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(…) painting itself is set in a 19th century frame with small miniatures. ------- From the French eighteenth (…) iron and tin), the whole covering the wooden frame. The first is stamped by Gérard Henri Lutz (…)
(…) a large canvas that stands out from the frame. She also created a ceramic self-portrait, directly (…)
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(…) canvas was also set in a spectacular gilded frame designed by the painter, which has since disappeared (…)
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(…) to fill in the damaged areas. Finally, a frame had to be made, entrusted to the expertise (…)
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(…) to us varies greatly: only the two that frame the fig tree and separate it, the first (…)
