Gesso Furniture

Antique classic mirror, gilded with gold leaf on wood with gesso, entirely in Baroque or Louis XV style, France, circa late 19th century. Elegant and graceful acanthus decoration, t...

An exceptional pair of carved and aged painted tables with marble tops above an egg-and-dart Vitruvian scroll frieze centred by scrolling acanthus leaf ‘C’ scrolls and rocaille flank...

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...

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...

Beautiful gold-colored vintage pine frame with a lovely, characterful patina of age, entirely in the classic Baroque style, elaborately decorated with elegant and graceful acanthus l...

Pair Gilt Carved Brackets. Antique English gilt carved wood and plaster fluted wall brackets with acanthus leaf edge detail above fanned fluted console with toupie foot terminal. Eng...

Spanish Rococo Console Mirror with Crest Eye-catching Rococo Style giltwood mirror with foliage and floral carved details on the frame and striped and scroll decorations. The sinuous...

This rare German papier mâché teaching model measures over 36 inches long and 21.5 inches tall. The base is wood and splits in two along with the cow. One side shows a beautiful real...

Created as part of John James Audubon's "The Birds of North America," the single greatest work on ornithology ever produced, this fabulous print of "The Little Owl, Strix Acadica" is presented in a magnificent Renaissance Revival frame. Audubon traveled extensively throughout the United States recording every then known species of bird in 435 plates, each in their true-to-life scale. From the very rare Havell edition...

Finely carved Louis XV giltwood mirror. France, 19th century. The frame is accented by foliage and floral motifs and beautifully adorned by a birds crest on top. Carved wood, covered...

Pair of American gilt carved wood girandole mirrors with flanking eagles on rock plinths perched to flee , upper and lower acanthus carved floral motif, ebonized reeded circular mold...

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...

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...

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...

Oil on board painting depicting a man on a high wheel bicycle, also known as Penny-farthing, with companion. Naive art style. Handwritten inscriptio...

Pair hand-colored Venetian engravings after Canaletto. 18th century hand-colored Venetian engravings in period gilt frames after Canaletto (1697-1768) with view of the Grand Canal t...

Unique and distinctive miniature depicting a bookcase, set in a carved wooden frame and protected by protective glass. The bookcase features three arched compartments, each with shel...

A fine 17th century Flemish oil painting on copper depicting the Virgin Mary in a radiant vision of the Immaculate Conception, surrounded by a lavish garland of flowers including tul...

Infuse your walls with the sophisticated charm of this exquisite pair of vintage Italian gilt wall brackets. Masterfully crafted in the esteemed Florentine tradition, these ornate co...

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...

Louis XV style Rectangular mirror, France, 1930s-1940s. Beautiful gilt wall mirror with foliage decorations at the corners, the style of Louis XV Measures: 80 cm H x 69 cm W x 9 cm...

This exceptional demi-lune side table showcases superb eighteenth-century craftsmanship, executed with the finest gilding and composition work, and preserved in remarkable condition....

Italian set of Five death mask Italian death mask cast, circa 1930s. Showing in the 19th century glass country cabinet.The price is only for the mask t...

A rare 17th Century, Spanish carved, painted and gilded picture frame. With a beautiful patina over a red painted panel. Inset with a faux antiqued mirror plate. Bold carvings, typic...

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...

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

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...

Applique in gesso Francese o Italiana, possibile periodo Art Decò, stile Serge Roche Manca il sistema elettrico Condizioni come da foto Grazie

Completely hand-crafted in 18th century Spain, this sculpture of the Virgin Mary of Immaculate Conception stands 1.5 meters / 5 feet tall, is topped by a silver halo / crown, 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, truly 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 contracted 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. In this case, 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...

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/...

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...

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 ...

Early 20th century LXVI style Trumeau original purchased in Paris. Gesso and painted white with original mirror installed. Overall size: 73 3/4" x W 51 1/2".

French shepherdess at twilight by Jean Beauduin (1851-1916). Oil on canvas mounted on board. Original Barbizon frame. I believe the dog is a bergere Picard. The bergere Picard or Picardy Shepherd is a French herding originating in Picardy. These dogs nearly became extinct after both World War I and World War II and remain a rare breed Jean Beauduin was a painter, draughtsman and illustrator of genre scenes, portraits and landscapes. He received his artistic training at the Academy of Antwerp. He moved to Paris shortly afterward. He exhibited at the Salon des Artistes Francaises as well as many expositions in the US and Europe. # collection collector american large carved paris rome new york salon important provenance historical fine not signed. museum original unique rare # American Russian figure landscape portrait old master impressionist sheep...

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...

A wonderful late 19th century antique French gilt wall mirror. This mirror has a very elaborate gesso frame that is simple amazing. Overall in good condition but does need some repai...

This mirror has an exceptionally fine and intricate repeat pattern of leaves flowers and scrolls in gilt finish offset by a neutral textured background. The darker background highlig...

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...

An antique Renaissance Revival over mantel mirror offers carved wood and gesso frame having foliate, fruit, nut, and scroll elements, 19th century Measure - 60"h x 32.25"w x 3"d Ca...

A fine antique French eight day mantle clock, gilded and fitted with Sevres porcelain plaques, circa 1830. An early French silk suspension clock, with an eight day time and strike movement, gently sounding the hours and half hour on a bell. The clock is housed in an extravagant gilded gesso Rococo style case and standing on an integral plinth. The clock with a silvered dial having a cuff of engine turned decoration around the center and black Roman numerals to the outside of the dial and the retailer's name "Carl Muller in Berlin" to the center. The base of the clock is fitted with a round hand-painted floral 'Sevres' porcelain plaque, the clock plinth is fitted with a rectangular 'Sevres' plaque, hand-painted with a pastoral scene with a young courting couple and grazing sheep & goats. The clock has just been professionally overhauled and cleaned, it runs and keeps good time, the gilded case and silvered dial and porcelain plaques are in remarkable condition, a very fine clock...

A rare and exceptional 18th century gilt iron processional cross with IHS to the centre, mounted on a magnificent painted gesso, carved wooden altar vase dating to the baroque period...

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...

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...

This striking pair 19th-century Italian carved wood fragments in the form of stylized dolphins, now mounted on custom Lucite bases. Originally part of a larger decorative scheme—like...

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

Exceptional 19th century landscape painting by Important American artist William Keith. Titled "Harvest". Barbizon School oil on canvas painting featuring figures at harvest with cart and oxen. Amazing luminescent sky. Signed lower left corner "W. Keith '96". Retains original museum quality gilt frame. Canvas measure 30"H 50"W. Accompanied with period correct Stereograph black and white photograph depicting actual painting in a parlor with handwritten pencil title "Parlor, Berkeley, Cal. '97". This is a museum quality work of art. William Keith (1838-1911) William Keith became in the late 19th and early 20th centuries a leading Northern-California landscape artist. In fact, he was so well known that he is referred to as the "Dean of California painters" and "California's Old Master." Born in Aberdeenshire, Scotland, Keith came to New York with his family and, apprenticed to a wood engraver. In 1859, he moved to San Francisco where he worked for an engraver and later set up his own engraving business. Studying with Samuel Marsden Brookes in 1863, he determined to become a painter. He married artist Elizabeth Emerson and did watercolor painting with her guidance. In 1868, he became a full-time painter, and that same year was commissioned to paint scenes along the Columbia River including Mount Hood. By August 1869 he had sold enough paintings to finance an extended journey to the East Coast and Europe including Dusseldorf, Germany throughout most of 1870, studying with Albert Flamm. After a visit to Paris, he expressed great admiration for "the modern school of French landscape painting including the Barbizon School. During the winter of 1871-1872, the Keiths lived in Boston where they shared a studio with William Hahn. Keith's work received critical acclaim there and in New York at the National Academy of Design. In 1872, he returned to San Francisco. A friendship with naturalist John Muir exposed Keith to many remote places and in-depth knowledge of nature. During the 1870s, he painted several "epic" eight by ten-foot High Sierra views. He also visited Alaska, and his paintings of Alaska were exhibited upon his return to San Francisco in a show at the Bohemian Club, titled 'Dreams of Alaska'. Keith's Alaska works are significant because they are not close transcriptions of actual scenery, but rather are fantasies inspired by Alaska. They are important as they represent a major break from the documentary tradition in landscape painting of Alaska, as they show an interest in capturing its spirit versus just the topography. In 1891, he shared his studio for several weeks with East Coast Tonalist George Inness, Sr. [1825-1894]. Both men painted in a similar style and were followers of the mystical teachings of Swedenborg. Among the locations where Inness and Keith painted together were Monterey and Yosemite, and it was reported they discussed art from every possible angle. Under Inness' influence, Keith painted more than ever in a Barbizon-influenced vein with many sunset and twilight scenes. Keith’s first wife died in 1882, and in 1883, he married Mary McHenry, the first woman graduate of Hastings Law School. They soon went to Europe, and Keith studied portrait painting in Munich with consultations from J. Frank Currier...

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

Oversized early 20th‑century round carved wood mirror featuring a wide, sculpted frame with layered relief detail. The wood shows a warm, even tone with a naturally aged surface that...

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

This beautiful mirror and console table are partially silver leaf gilt and also show the bone color of the gesso. It features rich carved ornaments around the frame and table, such as bay leaf...

A fine large French rectangular hall or over-mantel mirror from the 19th century, featuring a moulded surround with a beautiful patinated gold-leaf - perfect for use as a free standi...

Finely Carved Gold Leaf Giltwood Florentine Wall / Console Mirror, Italy, 1930s-1940s The frame is richly adorned with carved acanthus leaves, scroll details. It wears its original g...

A Louis XV style corner cabinet hand carved in solid wood and hand painted. Fine carving all around with flowers and foliage executed in the style of master cabinet makers from the ...

Italian frame from the late 19th century. Richly carved and chiseled wood and plaster furniture with high-quality floral and fruit decorations. A beautifully sized and striking frame...

Spectacular pair of Griffin (lion) motif French architectural 23k giltwood Boiserie relief mirrored panels. Each panel is expertly detailed with carved griffins flanking a floral urn...

Floral framed beveled mirror with a gesso application over hardwood. new mirrored glass with small bevel. Beautiful frame with elaborate deep floral motifs intertwined in tones of gr...

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

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...

Dimensions - H: 49 1/2 in W: 26 in D: 2 in This stunning pair of 20th Century Italian Rococo style mirrors showcases the opulence and artistry that defined 18th-century decorative a...

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...