Gesso Furniture

A magnificent original hand painted late 18th / early 19th century Italian refectory table. Italy, circa 1800, this one of a kind masterpiece executed in a rare and most impressive...

Antique American gilt picture frame. Rabbet measures 12.5" x 10.5" Perfect for a 12" x 10" painting. '

Dimensions - (Settee) H: 44 3/4in W: 58 1/2in D: 30in SH: 17 3/4in Arm Chairs - H: 42 1/2in W: 24in D: 24in SH: 17in This 19th Century French Louis XVI Style Gilt Wood Aubusson Parl...

A beveled wall mirror with carved and gilt double surround. The elaborate crest with a winged bust with tall leafy headdress flanked by scrolling acanthus leaves. The upper sides wit...

A very fine and Large Italian 18th-19th century oval-shaped oil on canvas titled "The Triumph of Venice" After the original work by the master Paolo Veronese (Venice, 1528-1588). The original of this painting hangs in the Palazzo Ducale, Venice. The 'Ricci' coloration suggests a late 17th-early 18th century date. In 1715 Charles de la Fosse advised Ricci to paint only "Veroneses and no more Riccis", Venice, circa 1800. Measures: Height: 45 1/4 inches (115 cm). Width: 29 inches (73.7 cm). Frame height: 58 1/4 inches (147.9 cm). Frame width: 43 1/4 inches (109.9 cm). Frame depth: 5 1/4 (13.3 cm). Provenance: Royal Academy of Scotland. Paolo Veronese (Born 1528, Verona, Republic of Venice - died April 9, 1588, Venice) was an Italian painter of the Renaissance in Venice, famous for paintings such as The Wedding at...

Gilt, Gesso on Wood Beautifully Done with a Sense of over the Top! Overall in very nice Original Shape. I think these mirrors look great over a modern console or antique! Check ou...

The beautiful and elegant Antique Rectangular Mirror with Cimasa and Gilding offered here is from the mid-19th Century and has its original and authentic antique ground mirror, slig...

American Federal gilt carved wood and gesso convex mirror with perched eagle to flee, flanking acanthus scrolled foliage, interior circular spheres, ebonized reeded ring, and termina...

Large gold-colored vintage pine frame with a very beautiful aged patina, entirely in classic Baroque style, decorated with acanthus leaves and a ribbon pattern all around, circa seco...

Pair of Hollywood Regency Burl Wood 33x55 Rectangle Wall Mirrors MINT

A fine and large 19th century oil on canvas after Bartolomé Esteban Murrillo's (Spanish, 1617-1682) Masterpiece "Beggar Boys Playing Dice" (The original work by Murillo was painted in 1675). The impressive artwork depicts two young boys playing dice while another eats a piece of fruit as his dog watches on., within an ornate gildwood and gesso frame bearing a label from the faming company Bigelow & Jordan. The original work by Murillo is currently at the Alte Pinakothek Museum in Munich, Germany. The present work is signed: L. Rüber. Circa: Munich, Late 19th Century. Bartolomé Esteban Murillo (born late December 1617, baptized January 1, 1618 – April 3, 1682) was a Spanish Baroque painter. Although he is best known for his religious works, Murillo also produced a considerable number of paintings of contemporary women and children. These lively, realist portraits of flower girls, street urchins, and beggars constitute an extensive and appealing record of the everyday life of his times. Murillo was born to Gaspar Esteban and María Pérez Murillo. He may have been born in Seville or in Pilas, a smaller Andalusian town. It is clear that he was baptized in Seville in 1618, the youngest son in a family of fourteen. His father was a barber and surgeon. His parents died when Murillo was still very young, and the artist was largely brought up by his aunt and uncle. Murillo began his art studies under Juan del Castillo in Seville. There he became familiar with Flemish painting and the "Treatise on Sacred Images" of Molanus (Ian van der Meulen or Molano). The great commercial importance of Seville at the time ensured that he was subject to influences from other regions. His first works were influenced by Zurbarán, Jusepe de Ribera and Alonzo Cano, and he shared their strongly realist approach. As his painting developed, his more important works evolved towards the polished style that suited the bourgeois and aristocratic tastes of the time, demonstrated especially in his Roman Catholic religious works. In 1642, at the age of 26, he moved to Madrid, where he most likely became familiar with the work of Velázquez, and would have seen the work of Venetian and Flemish masters in the royal collections; the rich colors and softly modeled forms of his subsequent work suggest these influences. In 1645 he returned to Seville and married Beatriz Cabrera y Villalobos, with whom he eventually had eleven children. In that year, he painted eleven canvases for the convent of St. Francisco el Grande in Seville. These works depicting the miracles of Franciscan saints vary between the Zurbaránesque tenebrism of the Ecstasy of St Francis and a softly luminous style (as in Death of St Clare...

Gorgeous scalloped giltwood oval mirror with gold leaf finish in the Hollywood Regency style. Spain, 1950s Manufactured by the Spanish cabinet maker Francisco Hurtado. Ovoid shape f...

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...

Antique Spanish Colonial Poly chrome Folk Art Santos figure probably Mexico The finely sculptured and painted wood figure standing on a pedestal base, painted in polychrome colour...

A very fine and palatial French 19th century Louis XV style carved giltwood and gesso figural beveled mirror frame trumeau. The arched plate within a main...

This pair of antique toleware bouquet sculptures are branded on the bases by an unknown maker, and date to approximately 1880 and originate from France. The bases are done in pine wi...

PRESENTING A LOVELY 19 century English Baroque Gilt Floral Wall Mirror. English, circa 1840. In classic ‘Baroque’ style with scrolling acanthu...

French Provincial style large beveled mirror with gold peeking from beneath the dusty neutral finish. New backing secures the heavy mirror, wired to hang horizontally & vertically.

An extraordinary 19th century Italian Rococo giltwood mirror richly carved with exuberant detail and figural ornamentation. The crest is surmounted by a reclining putto reading from ...

This hand-carved wooden figure represents the Virgin Mary as a child, known as Niña María, a revered devotional subject in Spanish Colonial art. Crafted in 19th-century Guatemala, th...

Rococo Finely Carved Giltwood Mirror with Crest, Spain, 1930s Outstanding wall mirror with richly carved frame and gilt patina. This fine rococo mirror has a foliage design showing d...

A rare and most charming authentic antique Venetian Chinoiserie decorated poudreuse (dressing table) with beautifully aged original patina! Venice, Italy, 18th century A wonderful...

Late 18th Century George II Period Games Table / Demi-Lune Console Table. Lacquer with hand painted detailed chinoiserie raised gesso village scene with figures fishing, the piece fo...

Pair of vintage jardinieres in the Greco-Roman style, in the form of tripod braziers with stretcher at base, round planters at top with removable metal liners, and featuring finely c...

Chinoiserie pagoda. Very decorative Italian painted plaster and wood three-tiered pagoda alla Mongiardino emanating from marine inspired grotto base with four masks issuing water in...

CARVED WOOD HORSE FORM, POSSIBLY USED AS A MOLD MASTER FOR PAPIER-MÂCHÉ PRODUCTION Probably French, mid-to-late 19th century 22 3/4" H x 6 7/8" D x 20 7/8" W A carved hardwood mode...

Pair of modern jardinieres (planters) crafted from charcoal colored marble veneer, inset with panels depicting 19th century scenes of figures in idyllic rural settings, including fe...

Dramatic pair of large 19th century Italian bed coronas or crowns made in the Baroque taste. The coronas feature demi-lune shaped frames embe...

A superb Irish regency period oval mirror, ebonised, surrounded with domed glass cabachons and stunning gilt sgraffito decoration. Foxing to the mirror plate and wear to the frame co...

A Pair of Rare and Original French Shell, Sea Life, Plaster and Patinated Gesso Sconces by Serge Roche for Maison Jansen, Paris, circa 1935. Roche's designs were showcased in elite P...

Spectacular large Hollywood Regency style gold leaf and ebonized rectangular mirror with bevelled mirror. Can be hung either vertically or horizontally.

A Renaissance inspired four-panel gilded screen with Roman arches. Transform your living space into a haven of historical artistry with this four-panel folding screen, an exquisite h...

A rare and extraordinary large-scale fine quality antique giltwood religious wall-hanging plaque / church altar element. circa 1860 19th century, Continental Europe, all most certainly from Italy and originally commissioned by the Roman Catholic church, executed in Baroque taste, featuring brillant heavily gilded sculptural wooden sunburst / starburst form, with original warm rich deep luxurious gilt-gold tones and dramatic intricately arranged radiating ray formation, framing a central angel putto mask carving, adorned in wavy textured hair and retaining remnants of original gesso and polychrome paint pigments, mounted over giltwood wings, all creating a visually striking masterpiece! Dimensions: (approx) 31.5" Diameter, 5.5" Deep; Weight: 3.5lbs A truly superb museum quality example. Remarkably well preserved. This important highly decorative religious work / statement piece is sure to become the focal point of any home! --- We here at Lynx Hollow Antiques absolutely love decorating with religious antiques! Offering an extensive collection of unique religious objects spanning many centuries, regions, cultures and religions, from authentic holy relics, early Christian artifacts, monstrance reliquary, liturgical liturgy items, to tabernacle, altarpiece, reredos and retablos, Gothic Revival credence cupboard to real architectural salvaged church, Buddhist temple, Islamic mosque, Jewish orthodox synagogue building elements and fragments, 18th century repurposed mirrors, Victorian era Cathedral spire, various altar table, sanctuary, Italian castle vestments and tapestry panels, stone baptismal fonts...

Light blue decorative wall panel with white and gold reliefs, handmade in Italy by Cupioli. Elegant decorative wall panel, made entirely by hand, inspired by the iconic Wedgwood cer...

A dreamy square mirror in the Modern Art Deco style featuring a boldly contoured molded wood frame with a distressed silver gilt finish. The curvaceous profile is punctuated by four ...

The Kelly Wearstler Echo Bench. This bench is carved from solid reclaimed Douglas Fir wood and finished in a white gesso. It is very heavy and showcases the natural wood grain and ta...

An impressive early 20th-century carved and polychrome painted cigar store Indian standing approximately 6 feet tall to the tip of the feathers. The base features replacement boards—...

This exceptional one-of-a-kind armoire from the area of Bremen has the original pink gesso appliqués, circa 1790.  Fabricated from a beautiful knot-less dense pine, the carved ribbed...

A fine custom made Louis XV or Rococo style table. With a gessoed and gilt wooden base in the high Rococo style with carved "C" and "S" scroll legs & stretcher and a shaped top. ...

A fine tall French arch top wall or over-mantle mirror or floor standing mirror. from the Louis Philippe period, circa 1860. Featuring a moulded frame surround with a beautiful pati...

Art Nouveau Rectangular Mirror with Foliage Frame, Wood, Gold Leaf Outstanding finely carved wood Art Nouveau mirror. Spain, 1930s Carved wood and gold leaf gilding. The frame has f...

Set of four hand made and painted tiles professionally framed it wood frame , depicting caricatures from The Carnival of Venice. Which is annual festival held in Venice, Italy. The festival is world-famous for its elaborate masks. The celebration takes place over ten days in which people dress up and take part in organized parades or simple processions on the street. The costumes are seventeenth-century Venetian dresses.

A fine early 18th century Gilt Gesso wall mirror, the frame with shells at the apex and apron, raised burnished strap work and scrolling vines on a contrasting stamped ground. Retain...

Polychrome Santo Niño Figure 19th century, Guatemala. Carved and polychromed wood figure of the Christ Child, depicted with delicate features and a naturali...

Elegant French Louis XV style giltwood chaise longue, with nicely-carved flower cartouches on the head and foot, floral carvings on the seat rail and other rococo ornaments. Upholstered in lovely silk lampas fabric...

An 18th century Italian Baroque silver gilt wall mirror, the carved wooden frame with floral and foliate decoration, lion paw feet, overlaid in gesso then silver gilded, there is a b...

1920s Louis XVI Style carved gilt wood ornate three panel over-mantle mirror. Two available. meas

Empire Neoclassical gilt mirror. Antique Italian gilt Neoclassical mirror frame with interior leaf and dart holding with large ogee band and o...

Giltwood Scalloped Wall Mirror / Sunburst Mirror Outstanding Hollywood Regency style scalloped giltwood mirror finely carved and gold leaf gilded. Manufactured by Francisco Hurtado,Spain, 1950s. One of a kind finely carved oval large mirror with an exquisite hand carved scalloped motif frame. This mirror was handcrafted at the Mid-Century Modern period in the Hollywood Regency style. The oval frame is comprised by an scalloped parting starting at the top and decreasing in Size to the bottom.It has been carefully restored to preserve its original patina in gold leaf finishing. Labeled with the Francisco Hurtado's workshop label at the back. This wall mirror will be a gorgeous addition to a powder room, entry hall or bedroom. It will add a Hollywood Regency glamourous taste wherever you place it. Overall measures: 84 cm H x 77 cm W x 6 cm D // 33,07 in H x 30,31 in W x 2,36 in D Glass diameter: 64 cm // 25,19 in diameter Oval Carved Mirror // Giltwood Carved Mirror // Giltwood Wall Mirror // Giltwood Console Mirror // Francisco Hurtado Mirror.

Large Italian Louis XV gilt-carved mirror over 6'-0" tall with floral embellishments in mecca gilt finish with original plate. Naples, circa 1770. Dimension: 42" W x 12.5" D x 75" H.

A finely painted early 19th century Russian Orthodox icon, Saint Nicholas of Myra, circa 1820. This traditional Russian icon is finely painted with egg tempera paint and gesso on a l...

Unique handcarved wooden head of Christ with beautiful expression and glass eyes, once used at processions. Napels/ Italy, circa 1750-1800. Beautiful example of 18th century craftsma...

A classic vintage gold-tone frame featuring floral motifs and acanthus ornamentation—fully in the Rococo style—dating from around the mid-20th century. This beautiful frame boasts a...

A large and highly decorative Louis Philippe period giltwood console mirror with arched top in the Louis XV style. The curvaceous frame of this 19th century mirror is beautifully age...

A huge plaster relief depicting motherhood ( titled Materniita) attributed to Domenico De Lisi C1920 Italy . Literature: Gio Acchino Barbera , De Lisi Benedetto in Dizianario biogra...

Spanish Sunburst Mirror, Giltwood, Gold Leaf ___________________________________________________________ Mini sized carved giltwood sunburst mirror, Spain, 1940s This lovely petite g...

Late 19th Century French overmantle mirror in giltwood and painted decoration.  With its original mirror plate and wooden backboards, fitted ...

This is a chest of drawers by artist and craftsman Max Kuehne (1880–1968), who was known for his landscape paintings, decorative furniture, screens, and frames. It was likely made in...

3-1128 French full length wood and gesso mirror with ornate detailing.

Triple Layered carved wood sunburst mirror, Spain, 1930s. The three layers of rays surounding the central round glass highlight its beauty. This wall mirror has a terrific aged pa...