Gesso Furniture

Sourced in Provence, France, this exceptional mid-19th-century French Louis Philippe giltwood mirror embodies both the timeless elegance of French decorative arts and the extraordina...

Ornate Gilt Wood Mirrors, probably Italian, circa 1940s. These mirrors were recently removed from the legendary Hotel Carlyle in New York City. We have a pair of these mirrors availa...

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 1800s. 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...

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 magnificent pair of very fine quality Italian polychrome and parcel gilt marble top console tables. Most impressive large scale, the contemporary antique reproduction exceptional...

A superb petite antique 19th-Century French Louis XV style giltwood and gesso elaborately carved mirror with original glass, circa 1850. This lovely mirror has shell decorations, scr...

Hollywood Regency style Sculptural Carved Wood Mirror Image Swan Console Table Base. This Console was made in the 1980 and comes from Italy, Jansen Style. Restored in Gesso Finish an...

Wall lamp with a unique shell-shaped design made of plaster. The shell has a space underneath to hold the cable and bulb, allowing the light to gently reflect throughout the interior...

Brutalist Murano glass mirror by Creaciones Gobesso, dated 1983, with a sculptural gilt gesso frame set with amber and deep red glass medallions. Circular in form and relatively com...

Truly extraordinary pair of English 19th century Gothic Revival architectural mirrors, nearly 9 feet tall. In the manner of Augustus Welby Northmore Pugin (aka God's Architect). I bought these for myself to use in my London flat...

French Napoleon III style giltwood rope-twist tabouret (stool or ottoman). The design is famous for its intricate gesso and giltwood frame carved to realistically resemble knotted an...

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...

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 large French 19th century oil on canvas "Les progrès de l'amour dans le cœur d'une jeune fille" The Progress of Love: The Lover Crowned, after Jean-Honoré Fragonard (French, 1732-1...

A striking pair of late 19th-century French Louis XVI style carved giltwood pedestal stands, sourced in Provence, France. Both stands have been structurally revised in our workshop, ...

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...

This beautiful antique mirror was made in Southern France in the mid 19th century. It has the upper rounded corners that are typical for Louis...

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...

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...

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 ...

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

Chic, voguish Trumeau style wall mirror, having a black and gold frame with a decorative raised classical style urn and foliate design, fluted columns, and raised molding trim. The ...

A beautiful large oval mirror with rich ornaments and original facetted mirror plate. The mirror has a very warm antique look and feel. The mirror has an ornate top decoration with a central “fleur de lis” with floral elements. At the bottom, there is also a smaller decoration with acanthus and floral elements. This mirror is made in Southern France and it has a solid pine frame that was smoothened with gesso. The most elevated part of the frame features a floral engraving and the inner part is adorned with a Classic pearl beading. The ornaments were casted with the use of ground cattle bone and plaster, reinforced with steel wires. The mixture of these materials is used in early mirror frames. Before casting was common practice, ornaments were hand carved in wood. A time consuming process and with the growing demand for these mirrors, new production methods were introduced. Later on larger...

A magnificent French Gothic parcel gilt paint decorated church tabernacle. circa 1810 France, early 19th century, executed in period Gothic Revival ...

Early 20th-Century Giltwood Rectangular Mirror with Floral Details on the Frame. Spain, 1930s-1940s From the Art Deco Period with neoclassical decorative accents. Large size. The fra...

19th Century Japanese Meiji Iki mask A Japanese Meiji period Iki mask dated from the late 19th Century, depicting a dynamic expressive human face, with glass eyes and hair and a burn...

This elegant Louis-Philippe period mirror dates to the 19th century and is a fine example of French craftsmanship from the period. The frame features the classic rounded top typical ...

Long rectangular three-part mirror with a carved surround with turned bars and raised foliate decoration. Rosettes in the corners. Overall matte gilt w...

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...

Charming Italian Pair of Gold Leaf Painted Wall Shelves. This Florentine style set could certainly stand alone as a pair on a wall or functional to hold treasures on top. Wonderful c...

A stunning hand-crafted wood and applied gesso altar vase, late 18th century with faux marbling to the base and flame top. Small areas of loss to the gesso and wear to the paint com...

Bring a touch of classical architecture into your home with this impressive vintage Corinthian Column Pedestal. This classic column style stand is painted faux marbleized on all side...

Pretty little framed mirror with new backing & wire. Aesthetic movement frame with a geometric background with overlaid pattern of flower blossom and leaves hand painted in 2 ton...

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

Exceptional 18th century carved wood wall bracket, featuring a finely sculpted putti surrounded by dramatic scrolling acanthus elements. Retaining traces of its original white gesso ...

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...

Late 19th Century/early 20th century Aesthetic Movement giltwood frame with gilt flower & leaf motif set between a small repeat pattern of crossed square on the inner & outer...

A fine large Louis Philippe arch top wall or overmantle mirror from France, featuring a moulded surround with a beautiful patinated gold-leaf - the outer edge of the frame with a dec...

Hollywood Regency giltwood oval mirror with carved shells frame with beige accents. Manufactured by Francisco Hurtado, Spain, 1950s One of a kind finely carved oval large mirror with...

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 scarce antique Italian hand painted lacca povera tabletop cabinet. circa 1775 Northern Italy, 18th century, likely used in a wealthy merchant or noble's country villa as a vargueñ...

Deeply moulded gilt frames with ornate scrolling foliate borders enclose this pair of upright marine oils depicting traditional sailing craft. One composition captures a vessel navig...

A very fine and large French 19th-20th century Louis XV style Belle Epoque giltwood and gesso carved figural mirror frame, surmounted with a hovering cherub, a cherub mask, scrolls, ...

From the lid of an anthropoid coffin, this beautiful wooden mummy mask is painted in bright pigment over a gessoed surface.  Yellow has been used for the skin tones of the face, blac...

A highly decorative and ornately carved Louis XV style 18th century French mirror, deeply carved foliage and rococo motifs with applied gesso and gilding. Height 97cm , Width 56cm...

An impressive large vintage dapple grey rocking horse, dating from circa 1940–1960 and presented on its substantial original-style pine safety stand. The horse is constructed from w...

Found in France, this gold leaf Louis Philippe mirror dates from the 1860s. This mirror features the classic Louis Philippe arched frame with gesso flowers and leaves sculpted in rel...

Barbola Floral Table Easel with Beveled Mirror, Early 20th Century.

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

This Springer pagoda dining table, with a custom bullnose edge, was acquired from the estate of the original owner. The natural goatskin parchment is of ...

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...

Neoclassical style parcel gilt and Gesso Venetian cream painted columnar pedestal stand, Italy, c. 1940. It features a square top over a fluted column on a square plinth to a stepped...

Large, dark, gold-toned pine frame featuring a beautiful aged patina; designed in a classic Baroque style and adorned with acanthus leaves and a surrounding ribbon pattern. Dates to ...

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...

A very fine vintage single singing bird in cage, by Karl Griesbaum German, circa 1930 Continuous and pause action A charming and finely made example of Griesbaum’s ever-popular singi...

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...

This is a very large antique overmantel mirror. A 230cm (7'5") x 189.5cm (6'2") English, giltwood and gesso wall mirror in the classical tast...

Adolf Constantin Baumgartner Stoiloff (Austrian/Russian, 1850-1924) A fine oil on board painting "Charging Cossack Warriors on Horseback" within an ornate giltwood frame, circa 1890 Born in 1850 in Linz (Austria) Stoiloff died in Vienna in 1924. According to a research of Russian literature, he studied in the 1880s at St. Petersburg Imperial Academy of Fine Arts. He was very well known for his Russian horse...

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...

Timeless quality from La Barge, a matched pair of vintage scroll form arch top giltwood mirrors an exemplar of imaginative design with beautifully aged gilde...