Gesso Furniture

19th/ 20th Century Giltwood Wall / Console / Pier Mirror, Over the Mantle, Rectangular A finely carved and decorative gilt wood and gesso wall mirror having a 24 kt gold finish. ...

A most charming vintage, circa 1960, Italian Venetian writing table (desk - vanity - console) with beautifully aged heavily worn distressed pati...

This antique florr lamp is unsigned, but presumed to originate from Italy and date to approximately 1920 and done in a Classical Florentine style. The lamp base is composed of a softwood that have been heavily hand-carved with considerable decorative elements from the top to the base, and has three pull chain light...

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...

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...

Condition: Newly Rewired, New Shades Dimensions: 30.25”H x 8.75”W x 8.75”D Shade: 10"H x 13"W x 13"D

Carved wood with gesso and gold metal finish Regency style convex mirror.

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

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

This beautiful antique mirror was made in central France at the end of the 19th century, around 1890. The mirror features a convex-concave-shaped top. The frame is made of pine wood ...

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...

Dramatic Gothic style aged mirror having central cherub at the top, ornate frame and two mask like faces on each side. Mirror has natural spiderwebs and mercury with fabulous moody ...

Beautiful Italian Rococo console table with inserted top of rosso verona marble. This console table has a pierced skirt centered by a rococo foliate ornament with complex volute fl...

Dramatic 1950s Italian bar cabinet features an elegant curved body on tall, slender cabriole legs, gessoed and painted in Tiffany box blue and lined in rich European walnut. Center framed fold-down shelf features a classical maritime oil painting...

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...

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...

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

White kidney shaped desk with Gesso finish. The top is antiqued mirror glass. Ready for a new home.

A large grand Baroque style carved wood, gessoed and gilded mirror with original faux marble finish. Mirror plate is old but possibly not original. This is a show stopper of a mirror...

Outstanding finely carved palatial Rococo style mirror with gold leaf finish in a very big size. France, 1850. A superb example of gilt Rococo style framework. The frame has a beau...

Rare and unusual Art Nouveau Arts and Crafts period figured oak and parcel gilt aquatic motifs wall mirror Circa 1890 Provenance: Estate of a Zigfield Follies, Broadway NYC actress T...

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...

Glorious 18th century water gilded baroque processional cross, with embroidered IHS panels inset. Time worn patina, gesso over wood. Height 61 cm, Width 37 cm, Depth 13 cm

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 very fine and Large Italian 18th-19th century oval-shaped oil on canvas titled "The Triumph of Venice" After the original work by 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...

An exceptional carved chimney piece with mirror above, inspired by the Chinese room of Claydon. The elaborate carved decoration following the style of Luke Lightfoot...

Beautiful Antique 19th century Neoclassical giltwood and gesso triptych overmantle mirror, with bevelled edge glass, classical chariot scene relief and Corinthian column pilasters.

"Horses Running", a bold abstract impressionist oil painting with heavy impasto. By Sheila Hedricks. Signed. Oil on board. In a per...

A lovely 19th century English school watercolor on paper of "a garden pergola" rendered in beautiful colors of brick, green, tan and grey. Presented in a gilded gesso and wood frame.

Large French frame from the late 20th century. Object of great size and impact, in wood, plaster and resin, carved, lacquered and gilded (bronze tint). Ideal frame to combine with a ...

A rare and highly unusual French Napoleon III carved wood, gesso and gilded frame with a modern mirror in it. The frame is decorated with cartouches and is further embellished with...

Shaped like a squared-off oval, this table is carved of wood, including tassel ornamentation and hoof feet crested with acanthus leaf trim. Painted a lovely teal blue-green, with an ...

An 18th century Italian Venetian-style wall mirror with original silvered patina.

Gilt chinoiserie mirror, probably Italian, circa 1940s.

George II style painted & gilt mirror in the Manner of William Kent. Gorgeous reproduction in a aged green painted finish with gilt embellishments on crown, shell and egg & dart moti...

Antique arts & crafts/ late Victorian Wood and Gesso Frame with a decorative flat frame with acorns & leaf pattern. The inner frame with a string of chain. Ornate pattern on both the...

This is a rare large gold leaf gilt mirror that was made in northern France in the late 19th century. It features the upper rounded corners typical for the Louis Philippe style. Th...

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...

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...

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...

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

A magnificent over-mantle 19th century French mirror in the Louis Philippe style, the incredible split plate with superb foxing sits within the splendid wooden frame with gilt gesso ...

A large and impressive French, 18th century Louis XVI period carved and giltwood trumeau mirror with antique mercury glass panels. A period oil on canvas painting of an expansive landscape with hunters is enclosed in a carved giltwood arched framework, surmounted by a stylized shell cartouche and supported by carved giltwood laurel...

Empire Style Mirror, France, 1930s. Beautiful Empire style rectangular mirror in beige patina with neoclassical relief foliage and floral ornamentation with gilded details . The fra...

A showstopping 19th century Renaissance Revival giltwood and gesso overmantle mirror of incredible proportions. Circa 1850, England This truly spectacular mirror boasts egg and...

A lovely pair of vintage Italian giltwood and gesso wall brackets or shelves from Florence, Italy, circa 1950. These stylish brackets have a hand carved scrolling acanthus leaf desig...

A fine antique English barbola dressing table or vanity oval mirror with easel, circa 1920. This beautiful mirror has beveled glass and is crowned with a gesso floral swag. It would ...

Highly detailed pair of French neoclassical style silver leaf giltwood urn lamps featuring hand carved draped foliate garland motifs. These Louis XVI style lamps are mounted on marbl...

19th century Italian giltwood shelf with angel and rococo-style carvings. The piece came from an important palazzo in Tuscany. It has faint green verdigris underlay with the gold l...

A 19th century Louis XV style wall console table with marble top. Probably from the Napoleon III epoch. Gesso and gold painted, openwork carved and rocaille-shaped wooden frame, car...

A finely carved wood bust of Julius Caesar taken from an original marble bust, carved in aged pine and gesso decorated. If required can be made to your specific size requirements. Th...

"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...

This beautiful Sacred Heart Sculpture dates to 1889 and would originally have hung near the altar in a German Church. The heart is crafted from wood with a gesso covering and hand pa...

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...

This is a superb 1876 era Centennial American mirror with a gorgeous gilded eagle on top and garlands and detail on the rest of the mahogany frame. The frame is in good antique condi...

This beautiful life-size plaster cast of the singing angels by Luca della Robbia and part of a collection of plaster casts from a Florentine collector, faithfully represents the orig...

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...

Fantastic Italian giltwood sunburst wall mirror made with monumental porportions and scale. Measuring nearly 68 inches wide with a carved frame having a neoclassical style rocaille s...

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...

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...