Gesso Furniture

A MAGNIFICENT GEORGE II STONE-PAINTED PIER GLASS IN THE MANNER OF WILLIAM KENT, CIRCA 1730. Carved in lime wood and Baltic pine. The eared Greek-key frame surmounted by a frieze wit...

A pair of polished limestone tops supported by seated stylised foxes to each corner flanking scrolling acanthus and oak-leaf swags centered by female masks above scallop shells. These impressive console tables are an example by Benjamin Goodison...

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

Francesco Peluso (Italian, 1836-1916) a fine Italian 19th-20th century oil on canvas "The Village Celebration" depicting a young couple of villagers dressed for Spring festivities and walking through a dirt road while playing musical instruments. The girl playing a tambourine and the boy a wooden noise maker...

An oil painting of two rustic dogs fighting over a piece of food. It is painted on an oak panel. Signed top left. The signature is a bit faded, it's a monogram J.S. by Joseph Stevens. He often signed with a monogram. In a gilded frame frame with gesso moldings. Dimensions frame: 41 x 47 cm Dimensions painting: 17 x 23 cm. Joseph Stevens is the older brother of the very well-known artist Alfred Stevens. In the book 'The Belgian Art Book' by J. de Geest, it is written that Joseph Stevens has given a new dimension to painting animals. Joseph Stevens is an early representative of realism and social art. While Eugene Verboeckhoven has royal dogs pose on a beautifully embroidered cushion, Joseph Stevens already has an eye for the dark side of animal existence: exploitation by man, who in turn is a victim of society. His first successful painting, Brussels in the morning, shows how miserable dogs and poor people suffer the same fate. In the Sandman, Stevens shows a joint effort of man and dog, in which the viewer cannot ignore the social conditions: exhausting labor at dawn in some suburb. The gray sky and monochromy of the suburb add to the sinister atmosphere. Joseph Stevens was one of the first artists to take the urban proletariat as his subject. Stevens enjoys a very high reputation in his Parisian years. His brother Alfred writes: 'I am of this time, but you, Joseph, you are of the race, and thus you are of all times.' French critics agree. Stevens' works are a source of inspiration for the literature of the time. For example, Beaudelaire writes a poem about Stevens' dogs. Joseph Edouard STEVENS. Belgium, 1819-1892 Stevens was a painter, etcher and engraver. Brother of the gifted painter Afred Stevens. Education at the Academy in Brussels (1834-1835). Debuted at the Salon in Brussels in 1842. Continued his career in Paris in 1852. He was primarily the painter of canvases depicting domestic animals (dogs, monkeys, horses), sometimes in curious, even idiosyncratic situations, and far from romanticism. This realism, of which he was one of the pioneers, earned him the interest of critics and intellectuals. His approach was defined by this contemporary realism that eschewed idealized depictions of animals as heroic emblems of nobility. Rather, Stevens emphasized the ordinary animals of everyday life, with a particular focus on working dogs, stray dogs and all of the mutts that wandered the streets of Brussels. Museums and public collections, including' Royal Museum of Fine Arts Brussels, Ghent, Hamburg, Paris, Musée du Louvre, Rouen, Musee des Beaux-Arts. Stuttgart, State Gallery. King Leopold...

K0618 A Large Victorian Overmantel giltwood mirror or arched form, having original glass with some foxing and desirable sparkle in gilded frame with moulded can finely carved cornice...

A striking Venetian style mirror, circa 1920. Carved wood with applied gesso decoration and polychrome painted with floral motifs in reds, white, yellow and greens over a bright turq...

Glamorous 19th Century Gilt Mirror, likely Italian or French, circa early 19th Century. It measures an impressive 37.5" height x 36.75" width. It retains its warm overall patina to b...

Wonderful oval stipple engraving after James Gillray Showing the meeting of Colonel Gardiner with his daughters before the Battle of Prestonpans. Set against the background of sterl...

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".

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...

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 ...

This evocative devotional sculpture portrays Jesus in a moment of deep reflection before His capture in Gethsemane. Shown seated with one hand resting against His cheek, He contempla...

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...

Introducing an exquisite Tete De Négre Chinoiserie TV and Media Cabinet/Armoire, a stunning piece of furniture that combines modern functionality with classic style. Hand-crafted fro...

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 ...

Gorgeous Gilltwood Mirror, Spanish Colonial, Scalloped Frame and Mosaic Mirror Inlays. Spain, 1940s-1950s. The gilt frame was richly carved from solid woo...

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...

A George I Gesso Table with Breche de Vendome Marble Top The frieze with acanthus leaf carving, with carved cabriole legs on pad feet. Width: 105 cm...

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.

P0290 Outstanding French 19th century gilded wall mirror / over mantel mirror of versatile form, can be positioned either way, having replacement glass in moulded gold leaf frame wit...

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...

Antique South American Spanish Colonial Poly chrome Folk Art Santos figure The finely sculptured hard wood figure standing with a cross and bible on a pedestal base, painted in p...

Early 20th century carved giltwood mini sized sunburst mirror in Baroque style. Beautiful carved giltwood sunburst mirror with convex glass in this unusual mini size. Carved wood ...

English Chippendale mahogany wall mirror with a broken arched foliage medallion cornice, central perched gilt wood eagle, upper gilt wood shell with Ivy vines, flanking gilt wood fol...

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

Custom designed by Michelle Nussbaumer Studio. Gothic Revival inspired with hand finished layered finish. Gold leaf applied over hand-painted and hand-carved frames. Antique nail...

Small gilded vintage pine frame with red velvet frame on the inside, completely in classic baroque style, decorated with acanthus leaves and a ribbon pattern all around, first half o...

Leopoldina Zanetti Borzino (Italian 1826-1902). Born in Venice, Leopoldina was the niece of Daniel Manin, a hero statesman, who would become the President of San Marco, a revolutiona...

Extraordinary Pair of Italian Carved Giltwood Mirrors with Shell and Coral Motifs, 20th Century Baroque Revival Meets Sculptural Coastal Design in the Manner of Tony Duquette A str...

An 18th Century French gilded mirror with carved doves and foliage. Retaining its original faded gilding.

Narrow gold-colored pine frame with a beautiful patina of age, entirely in classic Baroque style, decorated with elegant acanthus leaves, tendrils, and patterns. This vintage piece d...

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

A very good English egg and dart arched top overmantle mirror, with original mercury mirror and panelled back, in very good overall condition. 54" high 44.5" wide 2.5" depth FREE D...

Channel the avant-garde spirit of 1970s French design with this extraordinary sculptural credenza. This piece is a masterwork of texture and form, featuring hand-carved abstract and ...

A Pair of French Belle Epoqué Louis XV Style Giltwood and Gesso Carved Trumeau Mirrors. The slender carved framed each crowned with a rosette flaked by floral bouquets and scrolled a...

The Nike, part of the Timeless Objects collection by Catellani & Smith, embodies the classic soul of the brand. This collection gathers all the creations, past and future, by Enzo Ca...

A most impressive antique Italian Venetian Rococo carved painted parcel gilt wooden hall lantern. Hand carved in the Veneto region (Venice) of Northeast Italy in the 18th / possibly early 19th century, exceptionally executed in the highly ornate, whimsy, light, airy, dramatic splendor that is period late Baroque Rococo style, lavishly ornamented and elaborately sculpted, featuring a large triangular sculptural form enclosing later electrified three faux candle lights, showcasing the original pale pastel green ground adorned with whimsy hand painted polychrome flower motif and ornate giltwood carvings, with beautifully aged patina over the whole. circa 1740-1810 This very large lantern probably graced a sweeping hall or palatial entry of a Venetian aristocratic palazzo decorated with frescoed walls and ceilings, marble floors, surrounded by opulent artwork. Importance / History: For many centuries, the control of artificial light was an important status symbol for people living in most cultures and was an instantly understood sign of wealth and power. Beginning in the early 17th century, grand lanterns such as this were first created and hung in the entrance halls, foyers and/or vestibules of important mansions and manor houses of the aristocratic and affluent classes of Italy, France and Spain. Up until the early 20th century, the entrance hall was considered to be one of the most important spaces in any house. The main reason was that was the most public space in a house, and prior to phones or email, the space into which guests were admitted. Many, such as business people or important tradesmen, seldom went any further into the house. Therefore, that important entryway was designed and decorated with the intent of making the best impression on anyone who might enter it and to ensure they had the highest opinion of the residents of that house. Dimensions: (approx) 32" Tall, 16.75" Wide, 16.75" Deep Condition: Very good antique condition with highly desirable original warm rustic distressed chippy paint patina. Modern lighting and wiring. Lots of antique character and old world European charm, wear consistent with age and use, including scattered minor nicks, losses and exposed gesso adding to the sophisticated whimsical elegance, warmth, and rich antique opulence! Similar to a chandelier / hanging ceiling lamp / monumental pendant light...

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...

A hand-crafted wood and applied gesso altar vase, late 18th century with gilt rose silver finish. Small areas of loss to the gesso and wear to the paint commensurate with the age of...

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 ...

Elegant and iconic French Modern Neoclassical chandelier in the style of Alberto and Diego Giacometti. The form is sublime. It is composed of a cylindrical iron base from which 8 tor...

A George I design marble topped carved and painted hall table, with scrolled moulded frieze and square cabriole legs. This item is made to order. ...

An important Egyptian sarcophagus mask from the Ptolemaic Period (711–332 B.C.), crafted with remarkable artistry and historical significance. Material: Made from stuccoed linen tex...

Large golden pine frame with a beautiful age patina, XL size, entirely in classic Baroque style, decorated with elegant acanthus leaves and patterns, XL size, vintage object from cir...

This vintage four-panel screen features a striking crimson red ground embellished with intricate hand-painted scrollwork in a classical floral motif. Each panel is framed by vertical...

Imposing 19th century Italian carved floor mirror made on a grand monumental scale measuring over 6 feet tall. The mirror features a hand-beveled period thick glass plate mounted in ...

Sublime set of eight rare dining chairs featuring hand-carved faux bois gilt twig wood frames designed by Erika Brunson for Dessin Fournir. Crafted in the old world style from beech ...

This beautiful Baroque golden mirror is made in France, circa 1850. The frame has an arched top and is enriched with intricate decorations. The mirror has an ornate crest with a ce...

On offer here is a stunning pair of 100% original gold leaf gilt and polished corner consoles, meticulously hand-carved from solid linden wood. Made in southern France around 1710, t...

A powerful and dramatic pair of Italian neoclassical carved and gilt wood mythical animal figures on faux painted bases, mid 19th century or earlier, Italy. The fantastic beasts are well carved, with dramatic wings that follow the sensuous curve of the neck, and a sinuous body ends in an eel-like tail gracefully curled in upon itself. The bearded heads feature a flattened snout with sharp teeth and a lolling tongue, and pointed horse ears and mane. The long forelegs stretched out in front of them and ending in pawed and clawed feet. The beasts have characteristics of several different mythical animals, making them hard to positively identify. The most likely candidates would be dragons, hippocampi, or chimeras. The beasts are unfinished to the back, indicating they were originally part of a relief decoration, possibly from a mirror. They have now been mounted to wooden bases faux painted to imitate porphyry. They would make perfect bookends or mantle sculptures.

Rich in texture and geological history, this antique petrified wood stump table serves as both a sculptural accent and a functional surface. Naturally fossilized over millennia, the ...

This fire surround was salvaged from a house in South East London. Additional dimensions: Opening height 104 cm Opening width 117.5 cm.

A timeless piece. Original aged bronze finish on this handcrafted hardwood & dark gesso finished accent mirror.

A monumental pair of Irish Baroque carved mahogany country house serving tables with marble top and strong Romanic influence. Finished in aged Gesso and with antiqued marble tops. W...

Olive green Chinoiserie George III hanging corner cupboard dating to the late 18th century. In excellent condition. Original dark, olive green painted finish embellished with painted...

Empire Style mirror, France, 1930s. Beautiful Empire style rectangular mirror in beige patina with neoclassical relief foliage and floral ornament...

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 ...

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...

Original Napoleon lll ebonized charivari chairs. Made in France, circa 1850's. Reupholstered in a warm rich taupe crushed velvet. Seat height: 17.75 in (45 cm) One of the pair is sl...