Gesso Furniture

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...

Hand-carved six-arm chandelier, newly created from antique and later elements. Hand-carved 18th century wooden body with six iron arms. Early faded remnants of gesso. Newly wired for...

Beautiful Gilt and Gesso Wall Mirror on a wood sub-structure. In amazing condition! Gesso and Gilt shows just the minimum and perfect amount of wear. Mirror probably dates from th...

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...

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...

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...

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 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...

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...

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

Beautiful and impressive gold frame, entirely in classic Baroque style, elaborately decorated with acanthus leaves, flowers, and a ribbon pattern all around; a very high-quality fram...

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...

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...

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

This elegant Louis Philippe mirror was crafted in France in the late 19th century and represents a refined example of decorative craftsmanship from the period. The mirror retains its...

An expressive and finely crafted Niño Jesús (Christ Child) figure from 19th-century Guatemala, carved in wood with polychrome decoration and inset glass eyes. The sculpture depicts the Infant Jesus with chubby cheeks, rosy complexion, and a serene, soulful gaze. Above the figure is an original metal "Gloria" banner, ornamented with harp motifs, symbolizing the heavenly celebration of Christ’s birth. The craftsmanship reflects a blend of Spanish Colonial tradition and local Guatemalan artistry, characteristic of devotional figures created for home altars and parish use. Makers mark RB...

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...

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

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 ...

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...

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...

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

This small French Louis Philippe mirror embodies the understated elegance of the mid-19th century. The frame features the characteristic softly arched top that is so typical of the L...

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...

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...

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...

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...

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.

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.

Monumental carved giltwood baroque wall bracket, with carved foliate scroll and putti motif. An unusually large wall bracket.  

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—...

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...

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...

The Seasons (Les Saisons) by Alphonse Mucha is among the most celebrated expressions of Art Nouveau printmaking: a suite of four poetic lithographs—Spring, Summer, Autumn, and Winter—each allegory embodied by an idealized female figure adorned with the flora and fauna of their eponymous season. Spring (Les Printemps) Spring emerges as an ethereal, blonde sylph—an air elemental—standing before a haze of apple blossoms. She is framed by a delicate wreath of blooming dogwood, a motif Mucha studied from life. She fashions a lyre-like instrument from a fresh green branch, her own flowing hair forming its strings, evoking the poetic ideal of the Aeolian harp—an instrument played not by human hands but by the wind itself. This association aligns her with Romantic notions of nature as an animating force, written by contemporaneous poets such as Samuel Taylor Coleridge. At her feet, songbirds—including the ortolan bunting, long associated in French culture with innocence, and the exotic red-billed leiothrix, prized for its melodious song—gather to animate the composition with sound. The floral border of her garment, composed of narcissi, asters, dianthus, and cuckoo flowers, reinforces the sense of the abundance that defines the season. Summer (L’Été) Summer is rendered in languid repose, seated beside a reflective pool, her body slackened by the heat. Crowned with vivid red poppies—flowers of both sleep and sensuality—she dips her feet into cool water, seeking relief from the oppressive warmth. Ivy curls around her form, her translucent white drapery appears to slip from her shoulders, heightening the sense of languor. Unlike the airiness of Spring, Summer is grounded in the body, evoking the sensuous, almost narcotic stillness of a long, sun-drenched afternoon. Autumn (L’Automne) Autumn is richly adorned, her deep auburn hair echoing the tones of fallen leaves that surround her. She turns her gaze not outward, but toward the ripe grapes she holds—a symbol of harvest and abundance. A crown of chrysanthemums, rendered in white and blue, rests upon her head, a flower closely associated with Mucha himself, who was known—according to his son Jiří Mucha—to wear one in his buttonhole. Her costume is elaborately detailed with filigree disk brooches inspired by the stage jewelry of Sarah Bernhardt, particularly in her role as Theodora. These jewelry designs by Mucha drew on historical sources ranging from Byzantine mosaics studied in Ravenna to the earlier Merovingian traditions of Frankish and Lombardic women, who wore paired brooches...

Large and impressive 50” diameter faux coral costal chic, nine arm chandelier. Heavily constructed, welded wrought iron, textured and glazed with natural coral colored enamel. From a...

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...

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...

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...

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...

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

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 ...

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...

Round Art Deco Atsonea Ornate Gilt Wall Mirror The Mirror is Round, it has a decorative Art Deco Rococo Gilt Frame with a bevelled glass mirror at the centre The mirror glass is or...

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

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...

Crafted in Spain, circa 1680, this antique carved wooden bust depicts the head of Christ with a strikingly expressive, devotional presence typical of the Haute Époque period. The scu...

An 18th-century Vauxhall bevelled and distressed mecury mirror plate surrounded by a 20th-century gilt gesso frame with double candle arms and gilded brass sconce plates. The intric...

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.

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...

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.

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

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...

An attractive carved wood figure of the Bodhisattva Avalokiteshvara, known as Guanyin in China, late Ming Dynasty, early 17th century, China. Guanyi...

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...

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...

A jaw-dropping cabinet from the limited Italian furniture production designed by Allesandro for Baker Furniture, circa 1985. These credenzas are seldom available for sale. Slick exce...

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

Elegant Gilt Mirror, believed to be Italian circa 1940s. It was recently removed from The Carlyle Hotel in NYC. It measures an impressive 50.5" heigh...

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...