Gesso Furniture

An 18th century Italian Baroque silver gilt wall mirror, the carved wooden frame with floral and foliate decoration, lion paw feet, overlaid in gesso then silver gilded, there is a b...

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

Pair of Italian gilt carved wood wall mirrors with ribbons , flanking urns , medallions , & floral swags . Late 18th Century. Mirrors retain the original glass & wood back .

This convex mirror has a grand scale. The eagle has an ebonized body with a gilt head giving it a striking appearance which show off the feather details. Th...

Pair of Louis XVI Style, Large Wall or Floor Mirrors, Giltwood, Gesso, Europe, 19th C. Exquisite Pair of striking large giltwood and gesso mirrors, each featuring a central beveled p...

Beautiful antique wooden Corpus Christi (body of Christ) statue, sculpture, from around the beginning of the 18th century probably Flemish Beautiful wood carving and polychrome (pai...

The reverse breakfront cornice with beaded edge over low-relief diaperwork frieze, above an inset oval mirror plate with beaded slip bordered by fan patera...

An acanthus leaf carved and painted marble-topped centre table with triform base and Romanesque hairy paw feet. We are currently working to a 30-36 week lead time.

Rare and highly unusual antique Japanese statue of the esoteric deity 'Dakini Ten,' a Buddhist goddess who was associated with the agricultural...

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

Pair of English Regency gilt convex mirrors retaining its original slightly worn through water gilding and mercury glass surrounded with an ebony reeded slip and closely applied gilt...

An important architectural side table after a design by Matthias Lock, the Hercules mask draped with the pelt of the Nemean lion hung throu...

French Trumeau painted and gilt carved wood gesso wall mirror with quiver of arrows, tassels, intertwined foliage torchieres, gilt b...

A Folk Art carved wood and gesso painted standing horse with painted cloth saddle and horse hair tail Mounted on a later made black painted platform.               

Georgian gilt carved wood and gesso girandole wall mirror with a swan neck centered shield crest, original flanking scrolled spur bronze candle holders, a...

Large-scale ornate gilt mirror, American, circa 1940s, possibly earlier. It measures an impressive 5.5 feet width x 4 feet height approx. Retains wa...

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...

French Palladian painted and gilt trumeau mirror with a fluted carved cornice and flanking floral medallions. Early 19th Century. Mirror retains the original silvered glass & wood ba...

A lovely Victorian bevelled glass oval gilt wall mirror, original back boards with 1886 Islington Gazette paper under, in lovely condition throughout, can be hung portrait or landsca...

Walnut wood with carved and gilt Italianate detail style mirror. Top detailing features a floral accented urn and rococo style filigree. Carved and gilt bracketed corners and bottom ...

Magnificent oval Sicilian gilt wood mirror from the 18th Century. This antique mirror is adorned with intricate carved scrolling acanthus leaves and topped with a rosy cheeked cherub.

It is rare to find a matching pair of mirrors of this age, the rose gilt oval frames have a shell decoration at the top and flowers at the bottom The mirrors are in good condition t...

This exceptional pair of French gilt wood pier mirrors, dating from the late 18th to early 19th century, embodies the fascinating transition between Louis XV and Louis XVI styles. Ea...

Venetian gesso polychrome and parcel-gilt display cabinet or bookcase decorated in red-orange colors. The arched feather pediment over a pair of m...

Italian Neoclassical gilt carved wood and painted arched glass display case with flanking acorn finials, bell flowers, original glass, interior adjustable shelves, and resting on cla...

Fabulous 19th century English Regency convex looking glass with girandole arms. This amazing girandole mirror has the British Royal Crown on the pediment and a tudor rose on the pend...

Large light brown washed and carved mirror circa 1870-1899. Gesso-covered mirror washed in light brown color with remnants of original terracotta color size...

French Charles X oval mirror with original beveled glass. The frame is deeply molded with a vine design and pearl beading around the interior perimeter. The glass is lightly distressed.

An antique coin-operated large double singing birds-in-cage, by Bontems, French circa 1900 Spend a penny in style When wound and a 1d. coin inse...

A rare pair of early Georgian cut gesso mirrors mainly in their original gilt; the plates look original but were probably replaced some time ago; a finely carved cartouche in the cen...

Round Oval Gold Gilt Gesso Mirror Fine Detail Flowers and Leafs MINT!

Renaissance style giltwood bench, circa 1920. This bench has excellent quality gilding, carved cupid heads, gargoyle faces and paw feet.

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 Victorian oval wall mirror with decorative carved wood & gilt gesso frame. Includes original plate with attractive foxing. English, c. 1860.

Henry John Yeend King R.B.A, R.I., R.O.I. (British, 1855-1924) "A Victorian Lady Standing by a Sundial in the Park" Oil on panel. Signed lower right: Yeend King. "YK" Sticker en ver...

18th century Italian giltwood mirror with hand carved eagle, roses, leaves and other details. The carving around outer perimeter of the mirror to really highlight the details. Appear...

Uncover a dramatic masterpiece with this Vintage Original Figurative Oil Painting on Canvas, a captivating work of art steeped in historical allure. This extraordinary piece presents...

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...

An antique late Georgian or Regency period painted pine and gesso/composition fire surround. Dating to circa 1820, this stunning fireplace is an original of the English Georgian and ...

French Regence period giltwood parclose mirror (18th century), with beautifully-detailed carved birds and scallop shell on pediment, and flowers and other decoration around the frame...

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...

K0102 Fine XXth century French giltwood wall mirror, having original mirror plate with minor imperfections is gilded and moulded gesso frame with decorative floral corners to the top...

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

Russian gilt carved wood and gesso wall mirror with an arched painted lapis cornice, flanking fluted acanthus columns, and decorated with lambs tongue, bell flower, interior bead wor...

Outstanding 19th century Italian raised gilt gesso and oil painted panel. Very pretty images of leaves, flowers and urns. An exceptional piece!

Pair of Swedish Neo-Classic (18th Century) demilune wall mounted console tables, with decorative carving and applied gilt embellish...

This exquisite French Victorian Belle Époque oval mirror, circa 1890, captures the opulence and artistry of the late 19th century. Featuring an elaborately carved giltwood frame, the...

A small scale French Directoire trumeau mirror with a gilded and painted green, purple and gold finish. This Etruscan style mirror, depicting Phaedrus is a lovey size and has wonder...

Elegant French Louis XVI style carved giltwood and painted Trumeau mirror, circa 1900. The mirror is surmounted with a gilt acanthus inspired crest decorated in a foliate motif above a shaped panel with a painted canvas tapestry...

Early 19th century gilt and gesso picture frame. Found at an estate sale in Columbia, Tennessee. Objects from the sale were attributed to President James K. Polk's estate. Fantastic ...

A fine French 19th century oil on artist panel titled "The Bather and her Maid" after François Lemoyne (1688-1737) depicting a standing nude maiden being assisted by her maid, within an ornate giltwood and gesso carved frame, Paris, circa 1860-1870. François Lemoyne or François Le Moine or Le Moyne...

With a cartouche crest with a shell and crossed quiver and torch motifs. The side scrolled surrounds with acanthus leaves, the bottom with interlaced design. Backed with a blue paint...

Infuse your home with the architectural elegance of this stunning pair of vintage Italian-style wall brackets. Masterfully hand-carved from wood, each corbel features classic Neoclas...

French gilt carved wood and gesso foliage cartouche wall mirror with an egg and dart exterior border, flanking acanthus carved corners, and interior bead work. Early 19th century. Mi...

Rare French, 19th century, Empire. Large size carved wood and gesso gilt eagle, with its full body, swept back wings, pronounced talons, perched on a ball. Important size. Conditi...

A fabulous Louis XV style carved giltwod console with shaped marble top and arched mirror en suite, adorned with heavily carved and gessoed cherub, foliate, and scrollwork decoration...

Offered is a custom-made artisan-crafted console table created in Milan, Italy by Gennaro Avallone at his Laboratorio Avallone housed in a former salami factory that now showcases hi...

Original and magnificent English Regency period overmantel mirror --Original mirrors --Lion heads, Corinthian columns, and neoclassical frieze --Middle frieze depicts the nine Muses...

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...

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...