Gesso Furniture

A gorgeous 19th Century French mirror with a silver leaf frame. Original glass mirror plate and pine backboards. The frame is wood and gesso which has been gilded with silver leaf ...

Bring a touch of classical architecture into your home with this impressive vintage Corinthian Column Pedestal. This classic column style stand is painted faux marbleized on all side...

Hand formed outer edges to a simple hardwood wood frame, a rare spectacular example of the Art Crafts movement in pristine condition.

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...

Italian Neoclassical shell and foliage crest gilt wood wall mirror with a serpentine rope border, flanking corner dolphins with intertwined rope, and resting on a lower outset corner...

French Early 19th Century Gilded Wood Table Fragments. Beautiful period fragments constructed in gilt wood and ornamented with a floral design. These hand carved gilt pieces would be...

A good large 19th century antique French giltwood Louis XVI crested mirror, circa 1850. The mirror having a large scrolled crest flanked with fruiting foliate, the outside border hav...

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...

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

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...

Classic gilded vintage pine frame with a distinctive patina of age, entirely in Baroque style, decorated with elegant acanthus leaves, patterns, and flowers, circa the first half of ...

White kidney shaped desk with Gesso finish. The top is antiqued mirror glass. Ready for a new home.

From the extraordinary collection of Henry Ford II, we present this exceptionally rare pair of original English George III period (1760-1820) jardinières! 18th century, England, hand carved and enameled partial gilt wooden jardinière planters...

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 ...

Rare pastiglia marriage chest North of Italy, Liguria or Piemonte First half of 15th century wood, gesso, partly gilded, form molded and painted 67 x 156 x 63 cm Provenance : Pri...

Celebrate American heritage with this Antique Centennial American Federal Wall Mirror, featuring a majestic carved giltwood eagle crest and elegant mahogany frame. Crafted around the...

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...

Triple Layered carved wood sunburst mirror, Spain, 1930s. The three layers of rays surounding the central round glass highlight its beauty. This wall mirror has a terrific aged pa...

Gilt carved wedding mirror. Antique gilt carved and painted gesso mirror in the mannerist style with painted plaster entwined grape leaves and grape clusters border with gilt edges w...

Aged late 19th century French giltwood floor mirror crafted in the grand Louis XV taste. The mirror has a large wood-painted frame embellished with carved floral, foliate, and scroll...

The central tablet depicts the three Graces disarming Cupid. The scene is after a painting by the Neoclassical painter Angelica Kauffman (1741–1807). The Graces steal and break Cupid...

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...

A fine French Empire Revival 19th century giltwood and Gesso carved figural console table with matching mirror. The "D" shaped top console raised by a pair of seated winged sphinxes ...

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".

Oval beveled mirror in a Victorian frame which has been painted in flat white. There is some damage to the bottom of the oval which has been repaired. Wired to hang both horizontally...

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

A very fine and large French 19th-20th century Louis XV style Belle Epoque giltwood and gesso carved figural mirror frame, surmounted with a hovering cherub, a cherub mask, scrolls, ...

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...

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...

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...

Stunning Louis XVI Palatial Mirror in Giltwood with foliage and floral carvings, 19th Century. An antique masterwork Louis XVI style gold leaf frame enclosing the original beveled mi...

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

Elegant Gilt Mirror, believed to be Italian circa 1940s. It was recently removed from The Carlyle Hotel in NYC. It measures an impressive 50.5" heigh...

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...

Antique French Trumeau Mirror with a Great Patina, also defines that Shabby Chic look. This is a completely unrestored Antique French Trumeau probably made in the late 1800's and cou...

Large, gilded vintage pine frame with beautiful age patina, entirely in classic Baroque style. XL size, decorated with acanthus leaves, flowers, and patterns, first half of the 20th ...

This Italian hand-made American Federal Style eagle mirror, in the manner of Friedman Brothers, is a striking example of neoclassical elegance and timeless craftsmanship. Topped with...

Early 20th Century French Clock Tower Automaton Figures A rare matched pair of French (Paris) clock tower automaton figures, in the form of oriental male dressed dancing figures. Dat...

Beautiful Empire French period Trumeau.

Pair of metal, processional lanterns mounted on hand-carved and painted wood bases. Original velvet trim with brass studs.

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...

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

Large, gilded vintage pine frame with beautiful age patina, XL size, entirely in classic Baroque style, decorated with elegant acanthus leaves, vines, and patterns all around. Impres...

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...

A Pair of Rare and Original French Shell, Sea Life, Plaster and Patinated Gesso Sconces by Serge Roche for Maison Jansen, Paris, circa 1935. Roche's designs were showcased in elite P...

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...

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

Add a touch of luxurious opulence, dramatic beauty, romantic warmth, depth, and timeless old world elegance with this magnificent Venetian Rococo wall mirror! Italian, late 19th / e...

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

Highly detailed pair of French neoclassical style silver leaf giltwood urn lamps featuring hand carved draped foliate garland motifs. These Louis XVI style lamps are mounted on marbl...

This very impressive console table comes from the famous American Country house Blairsden. This house built in Peapack NJ for C. Ledyard Blair and Mrs. Florence Blair between 1898 and 1903. The house was created and decorated by the important architectural firm of Carrere & Hastings. The firm produced many homes, churches, monuments and public buildings for America's gilded age notables. Blairsden boasts extensive landscaped gardens in the manner of the French Baroque in the tradition of Andre Le Notre. The interiors as well where extensively set out and incorporated appropriate French and English furniture complimenting the decorative schemes. No expense was spared to create this house and grounds based on the ideals of Edwardian splendor and the ideal modern residence. This house was listed in 1903 upon its completion in the survey of American Estates & Gardens published by Barr Ferree. While much was spoken of its location, setting, architectural accomplishments and style the summation of the listing called "Blairsden one of the most elaborate and extensive schemes of its kind ever carried out in America." This table was formally part of the dining rooms complete redecoration by the architectural firm carried out in 1913. The room was originally planned around dark paneling and a warm even family-style catering to their children. The new rooms scheme was greatly enlarged and lightened up considerably by extensive plasterwork and painting in the Adams style. This table and a mate was used to center two opposing walls and complimented the inset painted panels and plasterwork ceiling which contained many references to swags, pateria, and other classical motifs. This table has been pictured in several period photographs and the house is extensively spoken of in the comprehensive book published in 2006 by Acanthus Press encompassing the principles ideals and the extent of there work especially in the Beaux-Arts...

"This exceptional large mirror was crafted in Northern France at the end of the 19th century, around 1870. The mirror features the characteristic rounded upper corners typical of the...

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...

Antica specchiera francese epoca Napoleone Terzo dorata a foglia d'oro. Molto elegante il disegno della cornice che si ispira al periodo Luigi XVI, e splendida la cimasa intagliata n...

Fabulous wooden rectangular frame with fantastic gilt. This wood frame will accommodate artwork 12x14 . Add some vintage charm to your favorite water color, print of oil painting wit...

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...

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

An oval giltwood mirror with elaborate cresting of putti or cherubs amidst a festoon of intertwining ribbon and flowers. The bottom with hairy paw feet. The gilt a lemony color wit...

Expertly cast and lacquered bronze finished sculpture of an atlas type figure supporting a bevelled 1" thick glass top. The base is a stepped and black lacquered rectangular plinth.

Pair of English Queen Anne burl walnut beveled wall mirrors with central gilt wood shell and foliage decorations, flanking upper star etchings, scalloped gilt foliage interior and ex...