Pair of Tall French 19th Century Gothic Revival Style Carved Oak Church Pedestal

A pair of French 19th-20th century Louis XV style giltwood carved figural three-legged standing pedestal planters Jardinières, each with carved figur...

A fine pair of Italian 19th century Baroque Revival style carved walnut Sgabello figural side-chairs, each backrest with carvings of winged male figures, the base with female figures...

A pair of French 19th century Baroque Revival style steel and patinated bronze figural chenets (Andirons). Each with a posing male figure holding a satyr shield next to decorative sp...

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...

This stunning pair of Gothic Revival church pedestal stands features richly grained pine construction with beautifully molded details and inset paneling, enhanced by their original w...

A pair of 19th century Art Nouveau Gothic carved oak console pedestals A good pair of pedestals, made in oak with the most wonderful wide carved border to their table tops The lo...

Early 19th Century Pair of Gothic Revival ​Architectural Pieces, Oak, Gorgeous pieces! Set of 2 Gothic Revival Architectural Salvage pieces Possibly from a church Solid Oak These pi...

Fine pair of carved mahogany torcheres by Morison & Co circa 1890. We are pleased to present this fine pair of torchere stands made by Morison & co of Edinburgh. Morison & co, esta...