Gesso Furniture

On offer here is a large antique oval mirror that was made in France in the second half of the 19th century, circa 1860. The mirror is decorated with beautiful ornaments with rich sy...

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 Charming Regency Period Circular Giltwood And Gesso Convex Mirror Of Good Bold Proportions, Having Superbly Carved Eagle Surmounted To Frame, With Original Gilded Surface And Appli...

A most impressive antique Spanish Colonial hand carved polychromed wood Santo Catholic church altar figure. circa 1800 Hand-crafted in the late 18th / early 19th century, exceptionally executed intricate detailing, the large scale antique religious sculpture depicting the female Saint Teresa of Avila, polychrome painted gesso over finely sculpted wood, inset glass eyes, shown in Carmelite nun habit...

Antica specchiera francese epoca Napoleone Terzo dorata a foglia d'oro. Molto elegante il disegno della cornice che si ispira al periodo Luigi XVI, e splendida la cimasa intagliata n...

Neoclassical 19th/20th century Roman plaque depicting a man of honor, marked "VIII" on reverse, owned by Iris Apfel. Wood, gesso and terracotta paint wit...

Pair of Italian Giltwood Shell Motif Wall Brackets, Attributed to Palladio, Circa 1960s A striking pair of Italian giltwood wall brackets or shelves, carved in bold relief with styl...

This 19th Century Venetian Rococo Style Bombe Chest Commode is richly hand-painted with bouquets of vibrant flowers, centered on ochre yellow surroun...

Louis XVI style bench with gesso and wood gilt construction, carved egg and dart trim, carved foliate fluted legs. The bench upholstered in silk fabric. Dimensions: 34 1/2" W, 15 1/...

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

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

This imposing vintage hanging lantern pendant is an exemplary piece of traditional Italian design, offering striking architectural presence and aged elegance. Crafted from hand-carve...

Italy, late 18th century, church altar reliquary, hand carved solid wood, gesso, and silver leaf, in Baroque taste, finely detailed figural bust form, with hollowed central relic com...

This beautiful Louis Philippe mirror was made in Northern France in the late 1800s. The mirror has a solid pine frame that was smoothened with gesso. The mirror frame is painted to ...

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

Pair of French 19th Century gesso painted mirrors with old foxed mirror plates. Circa 1890.

"This exceptional large mirror was crafted in Northern France at the end of the 19th century, around 1870. The mirror features the characteristic rounded upper corners typical of the...

Gold Leaf Branches Mirror, probably Italian, circa 1960s. Retains warm original patina to both the gilt frame and mirror that only come with age.

19th Century American Aesthetic Movement square framed mirror with wide, flat, highly decorated flat surface. Magical details featuring three dimensional layers of intricately articu...

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...

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...

K0467 A beautiful French, cream and gold leaf wall mirror, having original bevelled edge glass with foxing in beaded and shaped frame with shell and elaborate floral centre crest to ...

The Antique Gilded Mirror proposed here has a Gold Leaf Gilded Frame, 19th century. Antique mirror without a selvage is decorated with engraved floral motifs, flowers and leaves, ...

A stunning Art Deco-style mirror featuring the original glass. The swirl motif frame is hand painted in a natural greige/euro linen paint accented in gold then waxed. There are aged ...

The two-tone painted, rectangular frame with ornate gilt highlights throughout. Perfect in an entryway, to elongate a hall way or above a mantel horizontally. The neutral mirror may...

This Italian hand-made American Federal Style eagle mirror, in the manner of Friedman Brothers, is a striking example of neoclassical elegance and timeless craftsmanship. Topped with...

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...

Fabulous and in excellent antique condition with minimal wear. This Harp by the Rudolph Wurlitzer co. was well taken care of by its previous owners. C1920 with 45 strings and 7 peda...

Impressive large horizontal mantel mirror having gesso gold leaf fancy French style.

El Niño Jesús (Baby Jesus) Guatemala, Spanish Colonial Period (17th–18th century) Wood, gesso, polychrome, and glass eyes This expressive sculpture of the Christ Child was crafted i...

Victorian mirror with multiple inserts painted in neutral shades. Each insert has a different intricate pattern to the gesso which has been painted. Wired for both horizontal & ...

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...

Exceptional 17th-Century French Louis XIV Silver-Gilt Mirror A masterwork of the French ornamental arts, this rare 17th-century carved oak mirror exemplifies the grandeur and refinem...

Pair of English Queen Anne burl walnut beveled wall mirrors with central gilt wood shell and foliage decorations, flanking upper star etchings, scalloped gilt foliage interior and ex...

Fine Italian Florentine giltwood cassone or marriage chest in relief decorated pastiglia, the slightly arched lid with central sejant-rampant lion flanked by two crests with three cr...

Monumental American Federal Gilt and Mahogany Eagle Mirror with Oak Garland Swags, Attributed to a Philadelphia Workshop of John Pollard, Circa 1800 A monumental and masterfully car...

1960's Hollywood Regency Wall Mirror. Mirror has been silver-leafed at some point in its life. Great shape and feel. Frame shows loss to silver-leaf which adds to the overall look...

Pair of Neoclassical Venetian Figural Poly Chromed Gilt Foliage and Fruit Basket Gadrooned Pedestals on Stand, Late 18th century

Rare Mid-Century Modern handcrafted circular mirror made of stucco accented with green, yellow, orange and purple rock crystals . Italy, 1960s. Man...

A gorgeous pair antique 18th-Century Italian water gilt floral architectural fragments / wall swags / garland / wall decor with hangers. These stunning fragments have hand carved flo...

The Oval Antique Mirror with Cimasa rich with flowers, leaves and scrollwork offered here dates back to the mid-19th century.  The round antique mirror from the 1800s has a Gilded F...

This is a beautiful hand carved, gessoed and gilded George II mirror. Dating from the mid eighteenth century. This incredibly large mirror is stunning and actually downright imposing...

Pair of Gilt Rococo Style Oval Italian Mirrors, Italian, circa 1940s. They have been recently removed from The Carlyle Hotel in NYC. They are priced at $1800 each or $3300 for the pa...

George II giltwood and gesso mirror with beveled two glass parts within a lattice and flowerhead decorated border. Frame is decorated with flowerheads and scrolling acanthus and surm...

Monumental Newcomb-Macklin Gilt Frame with Contemporary Abstract by RK Red. This large scale piece brings together the quiet authority of an early American gilt frame with a modern...

Completely hand-crafted in 18th century Spain, this sculpture of the Virgin stands 1.5 meters / 5 feet tall and was most certainly created for devotional purposes, to be displayed in a church or chapel. Besides its impressive size this sculpture is an excellent, museum-quality example of the Spanish “Estofado” polychrome technique, developed during the Gothic period to imitate rich brocade fabrics. The finely carved “fabric” areas of the sculpture would be first covered in gesso, and then a layer of gold leaf would be applied. The gold leaf would then be painted over with various colors of tempera paints. Once dry, the painted surface would be incised or scratched away in patterns, revealing the gold beneath. The sculpture was professionally restored in 2022 by a firm that is often hired by the Spanish government to work on historic building interiors and museum pieces. The virgin was carefully cleaned, repaired and its condition stabilized. A complete and fully-illustrated restoration report will be included with purchase. Often confused with the virgin birth of Jesus, the belief that the Blessed Virgin Mary herself was conceived “immaculately” without original sin has been variously defended and debated within the Catholic Church since the pre-Middle Ages. For centuries, artists struggled to create an acceptable visual representation of this highly abstract concept, in part taking inspiration from the Book of Revelation and other scriptural sources. We see the Virgin standing on a half moon (biblically inspired, though also an ancient symbol of chastity) with her long natural hair loose down her back, another indication of purity. Both her white tunic and flowing blue mantle...

Fabulous wooden rectangular frame with fantastic patina. This wood frame will accommodate a 12x9 piece of artwork. Add some vintage charm to your favorite water color, print of oil p...

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...

Aged late 19th century French giltwood floor mirror crafted in the grand Louis XV taste. The mirror has a large wood-painted frame embellished with carved floral, foliate, and scroll...

These excellently hand-carved wooden 19th Century Italian angel cherub sconces were done in the traditional Renaissance style. During the Renaissance period, cherub and angel figural...

Finely Carved Giltwood Rococo Style Mirror, Spain, Early 20th century. The frame is richly adorned with carved leaves, flowers and scrollwork details. It wears its original glass. It...

A finely detailed devotional figure of the infant Christ (Niño Dios), typical of 19th-century Guatemalan religious art. Carved in wood with polychrome decoration and inset glass eyes...

A mid-18th century Venetian commode, finely painted and parcel-gilt, retaining its original three-drawer configuration. The softly shaped bombe façade is decorated with elegant Rococo scrollwork and foliate motifs, executed in gilt against a muted painted ground and framed by delicately articulated borders. Raised on slender cabriole legs with a shaped apron, the commode exemplifies the lightness and decorative refinement characteristic of Venetian Rococo furniture...

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...

Raoul Morren, a self-taught artist and curator, explores a spectrum of artistic mediums, including collage, painting, photography, sculpture and video. Drawing profound inspiration f...

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, ...

A Louis Philippe French gilded mirror with curved top corners, ribbed pattern and flowers in the corners. Tall elongated proportions. Bright gilt finish is in good condition with min...

Crafted in the 18th century, this antique Austrian two door cabinet is painted with a well-detailed floral motif and adorned with hand-carved and gold leafed decorations. Exquisitely...

Early 20th Century French Clock Tower Automaton Figures A rare matched pair of French (Paris) clock tower automaton figures, in the form of oriental male dressed dancing figures. Dat...

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...