Gesso Furniture

This stunning, large Louis XVI mirror was crafted in Northern France towards the end of the 19th century, around 1890. The frame is made of soli...

This beautiful antique French gold gilt mirror is a typical Louis Quinze or rococo mirror. It has the typical asymmetrical ornamentation and facetted mirror glass. The mirror is part...

An antique 19th century Eastlake Victorian mirror with decorative border and gilt accents. Deep well frame with marblized inner frame. The frame has a pretty pattern surface with cor...

An absolutely spectacular faux coral chandelier, handmade in iron with gesso and white paint. Lots of beautiful patina, this highly complicated sculpture is spectacular when lit. It ...

This rare museum-quality gilded carved oak mirror originated from France. The piece was crafted in the 17th Century. The exceptional piece of decoration boasts a high-quality Louis X...

Busto clásico masculino de HERMES Circa 1.950, de origen francés, realizado en yeso y con una maravillosa patina.

Beautiful antique frame with a print of dancing Greek graces. The frame is made of wood, with refined carving and graceful curls. The wood is decorated with stucco and gilded with gold leaf. The print is also interesting, it is an antique print with beautiful gold print, depicting the dancing graces...

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...

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...

Monumental Period American Federal gilt wood and gesso convex mirror with a central spread winged Eagle perched to flee on rocky plinth, upper flanking scrolled acanthus foliage, in...

pre 1825, Spanish Colonial, wooden polychrome column base depicting a putti holding up a corbel where a pillar would have been sat. The pillar is long gone but the intricate carvings...

Dramatic large handcrafted giltwood sunburst mirror with a convex looking glass. Made by Carvers Guild featuring a carved frame with angular facets covered in gold leaf. Over four fe...

On offer here is a tall and slender French Louis Philippe mirror, that dates from the mid-to-late 19th century. It showcases the hallmark features of the Louis Philippe period, inclu...

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

A fine custom made Louis XV or Rococo style table. With a gessoed and gilt wooden base in the high Rococo style with carved "C" and "S" scroll legs & stretcher and a shaped top. ...

A beautiful and rare antique mirror that was made in northern France in the 1880s. The mirror frame has upper rounded corners typical for the Louis...

19th Century English Regency painted & gilt gesso distressed small writing table. Circa 1820. The table is in untouched condition, with the original blue-green painted finish and gi...

This monumental large gold leaf gilt mirror was made in France in the mid-19th century, circa 1830. It has the upper rounded corners typical for Louis Philippe-style mirrors. The p...

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...

Our iconic, Rococo style Cherub Bed, hand carved in solid wood is featured in the bedrooms of Soho House and Crazy Bear. The carving on this bed is in the style of great French maste...

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 ...

Very large Louis XVI style horizontal mirror. Large mirror with pediment in gilded wood and gesso in the Louis XVI style. Very beautiful gilding, beveled glass, wooden parquet floor....

An elegant antique mirror with a crest of cords and tassels. Made in France, circa 1860 at he end of the Napoleon III period. The frame is made of pinewood, the moldings of there fra...

18th century exceptional Italian carved wood and polychromed figure depicting baby Jesus holding the world in his hand, he has halo made from sterling silver and the globe is also sterling silver.This piece would have originally been dressed in an elaborate gown and would have been changed into different attire depending on the holy season. Extremely detailed and the carving is exceptional. this piece came from a very reputable merchant in Verona, I did inherit it from my mother in Law...

Outstanding Baroque style silver and gold leaf giltwood carved sunburst mirror, Spain, 1930s-1940s. The carved wood frame is finished with gesso and gold leaf gilding in bronze tone...

A very fine large and attractive gilt mirror of arched rectangular form within an elaborate leaf and scroll work surround, surmounted with scrollwork and central shell raised on a pl...

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 Late 19th Century Carved Giltwood and Gesso Mirror The lovely oval shaped mirror is centered with a large shell crest encircled by oak leaves and acorns, flanked on either si...

Italian Lake Palace Ink Drawing. Italian ink drawing of island palace La Casina Vanvitelliana sul Lago Fusaro. Eighteenth century ink on paper drawing in a...

Pair antique bronze patinated angel putti sconces. Italian late 17th century bronze putti with exceptional modeling seated on scrolled arms each ex...

This beautiful and tall antique French mirror is completely gold leaf gilt and is made in Louis Philippe style with it's typical rounded upper corners. The mirror frame has a classic...

This beautiful antique French Louis Philippe mirror has an ornate crest on top and floral ornaments in both lower corners. The gadrooned frame has a pearl beading surrounding the outer edge. This mirror is made in the south of France circa 1850 and is an early Louis Philippe mirror. The crest is not made in one mold, but it is composed out of multiple ornaments. Also, the mixture used to cast the molds has a big part of ground cattlebone. Later mirrors, when the demand for such mirror was increased significantly, had crests cast in one mold and the cattle bone was replaced for chalk. This mirror frame has been cleaned from its original golden color. The off-white color is the color of the raw material. The frame has been colored with an off-white patina to smoothen the color. The whole mirror frame now has a pastel white finish with nice patina. The glass has been renewed circa 20...

Finely carved Louis XV giltwood mirror. France, 19th century. Carved wood, covered with gesso and gold leaf finish. This mirror has been carefully restored using traditional method...

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.

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...

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 wonderful pair of old Florentine style hand-carved and gessoed console tables with a later faux marbleized finish on the top and stretcher, hav...

Presented here is an exquisite antique Louis Philippe mirror, adorned with 19th-century French craftsmanship and elegance. Originating from southern France and dating back to approxi...

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

An elegant silvered wood and gesso French Art Deco elongated oval mirror with beveled mirror inset. The sides flanking either end of the widely beveled mirror feature a Greek key des...

This is a gorgeous French 1900s era cherub or putti mirror with numerous cherubs playing together on a creme painted background with genuine gold leaf details. The mirror is made of ...

A scarce 17th century Spanish Colonial carved wood santo with provenance from the National Museum of the Philippines Manila. circa late 1600s A large part of what makes this example so very rare is not just the age and condition, but the saint depicted, San Roque. The Hispano-Philippine (Spanish-Filipinos) hand carved hard wood religious altar figure presents splendidly, with scattered remnants of original gesso and polychrome pigments, the exceptionally sculpted religious folk art depicting San Roque (Saint Roch or Rocco), the 14th century Catholic patron saint frequently invoked against the plaque, various infectious disease, as well as patron saint of dogs, invalids, of falsely accused people, and of bachelors, amongst others. Provenance / Acquisition: Retaining registration - identification label to verso from The Republic of the Philippines (RP) National Museum of the Philippines Manila with hand written registration number. Acquired from highly reputable auction house, Austin Auction Gallery, est. 1982, Austin, Texas. February 2022 catalog. Dimensions: (approx) Overall: 15.75" High, 5" Wide, 4" Deep. Figure: 14" High 1.5lbs Great original antique condition, especially considering it's around 350 years old. Nicely aged patina over the whole. Presented on a later wood plinth base. Typical loss to right arm, minor finish losses, old tiny metal plate added to prevent age related splitting, all wear consistent with age, and only adds to the overall sophisticated character, authenticity, and charming rustic warmth that can only be acquired over long periods of time. We here at Lynx Hollow Antiques absolutely love religious antiques, from an antique altar, church architectural salvaged building and ornamental elements, reliquary, tabernacle cabinet...

The very old, if not original convex plate surrounded by an ebonized fillet, set within its exceptionally large & finely gilded wooden frame, featuring a cavetto-shaped molding decor...

An imposing giltwood and gesso decorated round convex mirror with egg-and-dart moulding surrounded by boldly carved acanthus leaves tied with a ribbon. This mirror is of an unusual...

England, third quarter of the 19th century On two scrolling foliate feet with casters, above which a rectangular two-side glazed frame, with on top a two-sided shield with initial...

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...

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...

On offer here is a beautiful small antique mirror that was made in France in the second half of the 19th century, around 1880. The mirror frame has the upper rounded corners typical ...

A large modern but antique looking French Rococo Style wall Mirror. A beautiful ornate frame that fits with any style of decor H: 150 cm w: 110 cm

On offer here is a stunning and rare tall pier mirror that was made in Southern France in the mid-19th century, circa 1850. The mirror frame is lavishly adorned with many natural orn...

Venetian Neoclassical foliage painted four drawer commode / chest with original brass knobs, and resting on tapered cuffed legs, Late 18th Century

Specchiera Dorata Antica Francese Di fine 1800 in legno dorato e sagomato, con specchio originale al mercurio in buono stato di conservazione a prescindere da qualche minimo segno ...

A very good English gilt arched top overmatle mirror with very good original mirror and ooriginal panelled back. 51"high 43" wide 2" depth You are welcome to view this item at our...

44 inch tall Moorish style wall mirror constructed of carved wood and gesso in an aged gilt finish. Most likely Italian and imported by La Barge.

A Large Victorian Carved Giltwood and Gesso Rectangular Wall Mirror. The beautiful deep set cushion frame with inset faux bois to its inner and vine leaf and grapes to its outer. Lar...

Introduce a touch of contemporary sophistication to your living space with the captivating White Remy coffee table, expertly crafted by Mr. Brown Home. This exquisite piece seamlessl...

Beautiful antique painting, a fruit still life against a dark blue background. The painting is painted on canvas, the canvas is pasted on wo...

An Attractive Mid 19th Century Early Victorian Period Giltwood And Gesso Circular Convex Mirror, Of Relatively Small Proportions, Having Very Well Carved Eagle On Rocks Bearing Chain...

An Extremely Charming Mid 19th Century, Victorian Period, Giltwood And Gesso Rectangular Overmantle Mirror, Or Pier Mirror, Having Mostly Original Sectioned Mirror Plates Set Within ...

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...

On offer here is a beautiful antique French mirror in Louis Quinze or Rococo style. It features the asymmetrical ornamentation typical for Louis Quinze and Rococo. The double-arched ...

A very fine quality French Empire Napoleonic period Mahogany & parcel gilt wine cabinet/armoire, circa 1810. Made of the finest mahogany this cabinet has the shape of a secretaire ab...

Circa 1920s French Empire style wooden stool has an antique white painted frame with gilded details and new gray mohair velvet upholstery. Two stools available at the time of posting...

Sculptural canvas relief with a 17th century Italian Florence fragment by Elena Rousseau. The sculpted canvas is molded together with fresco plaster, g...

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

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...

English Chippendale hand painted and gilded marriage bed with original silk and bell flower coverings, central gilt carved shell cornice, flanking gilt ca...

A rare and most impressive Tyrolean antique hand carved and painted floor-standing torchiere altar lamp with rich detail and beautiful warm, rustic, distre...

Impressive trio of dolphins made of heavy cast gesso and resin, with an antiqued ivory lacquer finish. French inspired piece would work well as a center table as well as an intimate dining table...

Pair of 19th century busts. These are 2 19th century Gesso painted busts of 2 archaeologists of the period. Measurements: 69 x 62 x 28 Y 65 x 60 x 30 Good condition.

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...

A group of eight Russian and Greek Orthodox icons painted over gold leaf and gesso laid on a wooden board. These are mounted on a Lucite panel and ...

Elegant Spanish 19th century gold leaf giltwood rectangular mirror with beveled glass. Empire style. Made of carved wood, gesso and 24-karat gold leaf finish. It has a nice aged pa...