Nine-Piece 19th Century Parcel Gilt Carved Aubusson Tapestry Parlor Set

A nice late 19th / early 20th century gilt bronze mounted empire style three piece parlor set. Comprising of a settee and a pair of armchairs. The rectangular backs leading to wavy arms, each supported by gilt bronze female sphinx...

A beautiful late 19th century Louis XVI style five-piece carved giltwood Aubusson tapestry parlor set Comprising of a settee and four armchairs. Each with an oval upholstered b...

An impressive set of four late 19th century Louis XVI style carved wood armchairs The oversized chairs with high backs and wide seats, hand carved strong and sturdy floral designe...

A set of four early 20th century gilt bronze mounted Transitional style Salon chairs Curved "S" shaped backs, straight front and curved back legs.

A fine pair of late 19th century carved wood armchairs. Each chair with carved figures of a man or a woman supporting an arm.

A late 19th century Sèvres style parcel-gilt porcelain jardinière Finely painted with numerous colored flowers with green and gold trim, gilt ram heads on either side. In late ...

Fine French Napoleon III period Louis XV style 7-piece parlor set. This beautiful carved giltwood set is richly upholstered in handwoven Aubusson Floral Tapestry. Comprising a Canape...

Beautiful 19th century French large suite consisting of a settee and 4 arm chairs and two side chairs. Original painted grey with parcel gilt details. Beautiful Aubusson tapestry wit...

Louis XVI style salon suite: A five pieces with four armchairs and one canapé in cuban mahogany in “twisted rope” carving style. Yellow upholstery with floral monogram. The structur...

19th Century Rosewood Parlor Set with Carved Backrests We present you a set composed of a three-seat bench and two armchairs. All the furniture is...

A Fine Anglo-Dutch 19th Century Baroque Style Ornately Carved Walnut Five Piece Parlor - Salon Suite, After Daniel Marot (French-Dutch, 1661–1752); comprising of a settee, two armchairs and two side chairs. The intricately pierced high-backs carved frames with scrolled and floral designs, curved armrests and cabriolet conjoined legs. Circa: 1890. Measures: Settee height: 54 3/4 inches (139.1 cm) Settee width: 70 3/4 inches (179.7 cm) Settee depth: 24 inches (61 cm) Armchairs Height: 52 inches (132.1 cm) Armchairs Width: 28 inches (71.1 cm) Armchairs Depth: 21 1/2 inches (54.6 cm) Side chairs Height: 50 inches (127 cm) Side chairs Width: 21 1/2 inches (54.6 cm) Side chairs Depth: 20 1/2 inches (52.1 cm) Seat height: 20 3/8 inches (51.8 cm). Daniel Marot or Daniel Marot the Elder (1661–1752) was a French-born Dutch architect, furniture designer and engraver at the forefront of the classicizing Late Baroque Louis XIV style. He worked for a long time in England and the Dutch Republic, where he was naturalised in 1709. Born in Paris, he was a pupil of Jean Le Pautre and the son of Jean Marot, who was also an architect and engraver. Marot was working independently as an engraver from an early age, making engravings of designs by Jean Bérain, one of Louis XIV's official designers at the Manufacture des Gobelins, where far more than tapestry was being produced. The family were Huguenots and were part of the wave of émigrés who left France in the year of the Edict of Fontainebleau and Revocation of the Edict of Nantes (1685) to settle in Holland. Daniel Marot brought the fully developed court style of Louis XIV to Holland, and later to London. In the end, the English style which is loosely called "William and Mary" owed much to his manner. In the Dutch Republic, Marot was employed by the Stadthouder, who later became William III of England; in particular, he is associated with designing interiors in the palace of Het Loo, from 1684 on. Though his name cannot be attached to any English building (and he does not have an entry in Howard Colvin's exhaustive Dictionary of British Architects) we know from his own engraving that he designed the great hall of audience for the States-General at the Hague. He also decorated many Dutch country-houses, introducing the “salon” and popularizing ornamented ceilings in The United Provinces/ Netherlands. State bed, designed by Daniel Marot, engraving, ca 1702 In 1694, he traveled with William to London, where he was appointed one of his architects and Master of Works. In England his activities appear to have been concentrated at Hampton Court Palace, where he designed the garden parterres, which were swept away in the following generation and have been restored at the end of the 20th century. His designs for the Great Fountain Garden survive. Much of the furniture, especially the mirrors, guéridons and state beds, in the new State Rooms readied for William at Hampton Court bears unmistakable traces of his authorship; the tall and monumental embroidered state beds, with their plumes of ostrich feathers, their elaborate valances and cantonnieres agree very closely with his later published designs. After William's death Marot returned to Holland where he lived at the Noordeinde 164 in The Hague from 1720 until his death in 1752. The house with his salon, kitchen, hallway and possibly some of his ceilings still exists. We owe much of our knowledge of his work to the folio volume of his furniture designs published at Amsterdam in 1712. Not surprisingly the designs show strong French and Dutch influences; what reads as their "English" look is more probably the result of Marot's court style on other London designers. Marot was a nephew of Pierre Gole...

Set of wicker and oak chairs. They are not exactly the same. When joined together they form a small wicker bench. The backrest is composed of a series of ...