Gesso Wall Decorations

1928 Italian hand carved and painted oversized winged angel wall sculpture

A huge plaster relief depicting motherhood ( titled Materniita) attributed to Domenico De Lisi C1920 Italy . Literature: Gio Acchino Barbera , De Lisi Benedetto in Dizianario biogra...

Light blue decorative wall panel with white and gold reliefs, handmade in Italy by Cupioli. Elegant decorative wall panel, made entirely by hand, inspired by the iconic Wedgwood cer...

Monumental carved giltwood baroque wall bracket, with carved foliate scroll and putti motif. An unusually large wall bracket.  

Light blue decorative wall panel with white and gold reliefs, handmade in Italy by Cupioli. Elegant decorative wall panel, made entirely by hand, inspired by the iconic Wedgwood cer...

A finely painted early 19th century Russian Orthodox icon, Saint Nicholas of Myra, circa 1820. This traditional Russian icon is finely painted with egg tempera paint and gesso on a l...

Wonderful faux burr walnut picture frame Painted and gilt on gesso Original patina. A delightful colour The measurement given below is the outside of the frame Internally it meas...

The Seasons (Les Saisons) by Alphonse Mucha is among the most celebrated expressions of Art Nouveau printmaking: a suite of four poetic lithographs—Spring, Summer, Autumn, and Winter—each allegory embodied by an idealized female figure adorned with the flora and fauna of their eponymous season. Spring (Les Printemps) Spring emerges as an ethereal, blonde sylph—an air elemental—standing before a haze of apple blossoms. She is framed by a delicate wreath of blooming dogwood, a motif Mucha studied from life. She fashions a lyre-like instrument from a fresh green branch, her own flowing hair forming its strings, evoking the poetic ideal of the Aeolian harp—an instrument played not by human hands but by the wind itself. This association aligns her with Romantic notions of nature as an animating force, written by contemporaneous poets such as Samuel Taylor Coleridge. At her feet, songbirds—including the ortolan bunting, long associated in French culture with innocence, and the exotic red-billed leiothrix, prized for its melodious song—gather to animate the composition with sound. The floral border of her garment, composed of narcissi, asters, dianthus, and cuckoo flowers, reinforces the sense of the abundance that defines the season. Summer (L’Été) Summer is rendered in languid repose, seated beside a reflective pool, her body slackened by the heat. Crowned with vivid red poppies—flowers of both sleep and sensuality—she dips her feet into cool water, seeking relief from the oppressive warmth. Ivy curls around her form, her translucent white drapery appears to slip from her shoulders, heightening the sense of languor. Unlike the airiness of Spring, Summer is grounded in the body, evoking the sensuous, almost narcotic stillness of a long, sun-drenched afternoon. Autumn (L’Automne) Autumn is richly adorned, her deep auburn hair echoing the tones of fallen leaves that surround her. She turns her gaze not outward, but toward the ripe grapes she holds—a symbol of harvest and abundance. A crown of chrysanthemums, rendered in white and blue, rests upon her head, a flower closely associated with Mucha himself, who was known—according to his son Jiří Mucha—to wear one in his buttonhole. Her costume is elaborately detailed with filigree disk brooches inspired by the stage jewelry of Sarah Bernhardt, particularly in her role as Theodora. These jewelry designs by Mucha drew on historical sources ranging from Byzantine mosaics studied in Ravenna to the earlier Merovingian traditions of Frankish and Lombardic women, who wore paired brooches...

A fine and large 19th century oil on canvas after Bartolomé Esteban Murrillo's (Spanish, 1617-1682) "Beggar Boys Playing Dice" (The original work by Murillo was painted in 1675). The impressive artwork depicts two young boys playing dice while another eats a piece of fruit as his dog watches on., within an ornate gildwood and gesso frame bearing a label from the faming company Bigelow & Jordan. The original work by Murillo is currently at the Alte Pinakothek Museum in Munich, Germany. The present work is signed: L. Rüber. Circa: Munich, Late 19th Century. Bartolomé Esteban Murillo (born late December 1617, baptized January 1, 1618 – April 3, 1682) was a Spanish Baroque painter. Although he is best known for his religious works, Murillo also produced a considerable number of paintings of contemporary women and children. These lively, realist portraits of flower girls, street urchins, and beggars constitute an extensive and appealing record of the everyday life of his times. Murillo was born to Gaspar Esteban and María Pérez Murillo. He may have been born in Seville or in Pilas, a smaller Andalusian town. It is clear that he was baptized in Seville in 1618, the youngest son in a family of fourteen. His father was a barber and surgeon. His parents died when Murillo was still very young, and the artist was largely brought up by his aunt and uncle. Murillo began his art studies under Juan del Castillo in Seville. There he became familiar with Flemish painting and the "Treatise on Sacred Images" of Molanus (Ian van der Meulen or Molano). The great commercial importance of Seville at the time ensured that he was subject to influences from other regions. His first works were influenced by Zurbarán, Jusepe de Ribera and Alonzo Cano, and he shared their strongly realist approach. As his painting developed, his more important works evolved towards the polished style that suited the bourgeois and aristocratic tastes of the time, demonstrated especially in his Roman Catholic religious works. In 1642, at the age of 26, he moved to Madrid, where he most likely became familiar with the work of Velázquez, and would have seen the work of Venetian and Flemish masters in the royal collections; the rich colors and softly modeled forms of his subsequent work suggest these influences. In 1645 he returned to Seville and married Beatriz Cabrera y Villalobos, with whom he eventually had eleven children. In that year, he painted eleven canvases for the convent of St. Francisco el Grande in Seville. These works depicting the miracles of Franciscan saints vary between the Zurbaránesque tenebrism of the Ecstasy of St Francis and a softly luminous style (as in Death of St Clare...

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...

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...

A large French 19th century oil on canvas (laid down on a masonite) "Les progrès de l'amour dans le cœur d'une jeune fille" The Progress of Love: The Lover Crowned, after Jean-Honoré...

Pair of American figural oil on canvas portraits in original gilt wood and gesso molded edge frames, New York, 19th Century John Clark Hollister, NY 1818-1905 Martha Lyman Hollister,...

Antique ca. 1900 Russian Orthodox Icon " Joy to All Who Sorrow Mother of God with coins" hand - painted with Tempera on hand - carved wood panel and richly Gilt. Likely central Russi...

18th century Italian holy water font with two angels framed with polished agate coral wings on fossil coral.  The Italian holy water front is from a historical Italian church and is...

"In Paris from the autumn of 1899 to the summer of 1900, [Lautrec] seemed to live his former existence, making paintings and prints and maintaining contact with friends... In some wa...

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...

Exceptional 18th century carved wood wall bracket, featuring a finely sculpted putti surrounded by dramatic scrolling acanthus elements. Retaining traces of its original white gesso ...

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.

American portrait oil on canvas of a young ship captain holding a spyglass with a sailing ship, crew in rowboat, and gulls in lower background mounted in the original decorative gilt...

Charming Italian Pair of Gold Leaf Painted Wall Shelves. This Florentine style set could certainly stand alone as a pair on a wall or functional to hold treasures on top. Wonderful c...

A French Art Nouveau lithograph "La Tige, Moulin Rouge" by Henri de Toulouse-Lautrec. The work, as with many of Lautrec’s crayon lithographs, is imbued with a spirit of tongue and ch...

A superb vintage mid-century Federal American giltwood and gesso eagle wall bracket. This regal eagle has fine details with outstretched wings and a lovely gilt patina. It's the perf...

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...

Discover Lynnea’s new Architectural Abstract series, where Agnes Martin–inspired shapes float gracefully across textured canvas boards. Each piece is thoughtfully layered with soulfu...

Black cat painting in chalk and acrylic on advertising cardboard. My friend the painter. Shipped in a wooden case Thank you

Pair of plaster wall brackets depicting a goat or ram, made in the early 20th century Ø cm 16 Ø cm 16 h cm 22 Antique ceramic shelves are fascinating objects that combine functiona...

Pair of Italian Giltwood Shell Motif Wall Brackets, Attributed to Palladio, Circa 1960s A striking pair of Italian giltwood wall brackets or shelves, carved in bold relief with styl...

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

Discover Lynnea’s new Architectural Abstract series, where Agnes Martin–inspired shapes float gracefully across textured canvas boards. Each piece is thoughtfully layered with soulfu...

Two original English watercolor/drawings circa 1854,1855, Ellen Dumbleton, from her sketchbook, Humble House and Summer house, Hall Grove. Beautifully pr...

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...

Adolf Constantin Baumgartner Stoiloff (Austrian/Russian, 1850-1924) A fine oil on board painting "Charging Cossack Warriors on Horseback" within an ornate giltwood frame, circa 1890 Born in 1850 in Linz (Austria) Stoiloff died in Vienna in 1924. According to a research of Russian literature, he studied in the 1880s at St. Petersburg Imperial Academy of Fine Arts. He was very well known for his Russian horse...

More information coming soon… Translated from French (on the pair of scrolled consoles at the top of each print): The St. Philippe, commanded by Mr. De La Galissonnière, View of th...

Relief carved, gessoed and 22-karat gold gilded, Italian bishop's crest featuring three bees amidst foliate scrolls, drapery swags, and tassles.

Pair of white-painted wall shelves, each with a small, single drawer. Structurally, the shelf has an elegant, bowed front with beveled edges at the top and bottom. The serpentine bra...

Discover Lynnea’s new Architectural Abstract series, where Agnes Martin–inspired shapes float gracefully across textured canvas boards. Each piece is thoughtfully layered with soulfu...

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

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...

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...

Attributed to August Stephan Sedlacek (Austrian/German, 1868-1936) "The Violin Presentation" Oil on Canvas depicting an interior 18th century scene of...

A fine French oil painting on canvas featuring a still life of a vase of flowers in a Montparnasse frame. The Montparnasse frame takes its name from the Parisian district where it w...

Antique ca. 19th early 20th cent. Russian Orthodox Icon of Saint Basil the Great / Святой Василий Великий hand - painted with Tempera on hand - carved wood panel and richly Gilt. Lik...

Lee Porzio, Untitled, Oil on Gesso Board with String, ca 1960s. Painting measures 32: high x 48" wide; with frame painting measures 33-1/2 high x 49-3/4" wide. Painting is in good vintage condition with new gold wood frame. LEE PORZIO (1913-2004) Lee was born in Paterson, New Jersey in September 1913 to Italian immigrant parents. Growing up in nearby Hawthorne, New Jersey, Lee met first husband Angelo di Benedetto, by then a well-known artist in his own right. They married in 1942 while Angelo was serving in the Air Force. In 1946, when he was discharged, they remained in Colorado, where he had been stationed, settling in Central City near Denver. Apparently, Angelo’s years-long obsession with turning a warehouse into a giant art studio created tension in their relationship ending in their divorce. By 1953, Lee had met Allen Ditson and moved to Arizona; they married in 1954. Once in Arizona, they began building their reputations as artists able to work in various media. Allen was a sculptor in metal and wood and a furniture designer. Lee was known for her skill as a graphic artist and could execute her designs in clay, oils, fabrics and fibers. Her work was sold at fine galleries nationwide. Together, their commissions include works of dramatic size and scope in the architectural and commercial field throughout the United States as well as intimate pieces for homes and small offices. Their work adorned numerous banks, offices, restaurants, churches and university buildings all over Phoenix, Arizona. Lee passed away in Paradise Valley, Arizona in 2004. Allen died in 2007. Exhibitions: - Syracuse Ceramic National Exhibition, 1948 - Art Institute of Chicago, 25th Annual Exhibition by the Society for Contemporary American Art...

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...

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...

Italian 19th century oil on canvas titled "The Violin Music Professor" depicting a mid-19th century music-room scene of an elder man, the music professor, holding his violin, hat and...

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...

Peter Adolf Persson, born 25th September, 1862 in Kvistoftavägen, Scania, died January 15, 1914 in Tyringegatan, Skåne, was a Swedish artist. Persson studied at the Academy of Arts i...

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

Introduce a touch of timeless grandeur and architectural interest to your walls with this exquisite pair of vintage Regency-style wall pockets. Lavishly adorned with scrolling acanthus leaf motifs, these pieces are masterfully crafted from gesso over plaster and finished with a rich, antiqued gilt surface that speaks to their historic charm. The intricate detailing and elegant proportions make them captivating focal points, perfect for flanking a stately mirror, framing an entryway, or adding a layer of sophisticated drama to a living room or dining area, whether holding dried botanicals or displayed as art in their own right. In great vintage condition, these wall pockets exhibit a beautiful, authentic patina with minor scuffs, small chips, and wear to the gilt finish, all entirely appropriate to their age and adding to their distinguished character. Each impressive piece measures 8 inches wide, 2.75 inches deep, and stands a striking 29.5 inches tall, offering significant vertical impact. Their classic design allows for versatile styling, seamlessly complementing Hollywood Regency, Traditional, Neoclassical, Italianate, or even maximalist interiors. Don't miss the chance to incorporate this remarkable pair into your decor; acquire these magnificent vintage wall pockets...

An exceptional and rare pair of antique polychrome carved wooden figures, executed as so-called “dummy boards” or “silent companions,” dating from the late 18th to early 19th century...

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...

Manner of Titian (Tiziano Vecelli - Italian, 1485-1576) An Oil on Canvas "Sleeping Cupid" within a gilt and black decorated gesso frame. A label on reve...

The object in the image is an antique punch paper or lacework cross, likely from the 1870s, framed in an antique wooden frame, richly detailed, traditional American craftsmanship. C...

Silvio Bicchi (1874 Livorno-1948 Florence) La Mucca, The Cow. Pupil of G. Fattori. Charming pastel of a young cow in a gilt gesso and wood carved frame. Italy, first quarter twentie...

American gilt carved wood and gesso Eagle with extended wings perched on decorative acanthus floral motif, Early 19th century.  

Discover Lynnea’s new Architectural Abstract series, where Agnes Martin–inspired shapes float gracefully across textured canvas boards. Each piece is thoughtfully layered with soulfu...

Discover Lynnea’s new Architectural Abstract series, where Agnes Martin–inspired shapes float gracefully across textured canvas boards. Each piece is thoughtfully layered with soulfu...

Discover Lynnea’s new Architectural Abstract series, where Agnes Martin–inspired shapes float gracefully across textured canvas boards. Each piece is thoughtfully layered with soulfu...