Louis XVI Furniture

A French Louis XVI style light walnut commode from the 20th century with three drawers, fluted side posts and legs, ornate hardware. This French Louis XVI style light walnut commode ...

Bronze Mounted Steinway Model M Baby Grand Piano A Model Of Francois Linke Dimensions : Height 43 in., Length 67 in., Width 56.25 in A Gilt-Bronze Mounted Steinway & Sons Baby G...

A Marvelous 19th Century Italian Oil on Canvas titled "The Cardinal's Present" by Arturo Ricci. This oil on canvas is truly incredible and one of Ricci's best works of art. The sce...

French mid-century bed made circa 1900, in the Louis XVI style. The painting is the original but the bed has been patinated recently to refresh the finishing. The upholtery is in goo...

Antique fine French rare pair of early 20th century mahogany, fruitwood marquetry and gilt bronze mounted commodes In the Louis XVI Style, after the original model of the commode com...

A large and most impressive vintage French Louis XVI style painted parcel gilt console table / server attributed to legendary Parisian design house Maison Jansen. *Rare opportunity!...

Late Classicist chest of drawers Southern Germany Walnut Early 19th century Dimensions: H x W x D: 83 x 124 x 60 cm Description: Strictly cubist chest of drawers from the transiti...

A stunning Louis XVI style armchair France, Early 20th Century Painted cream and gold gilt carved wooden frame, with pink and gold "woven" patterned upholstery, and down filled cus...

Set of six French dining chairs, mid 20th century Louis XVI revival C1960                                All original velvet velour studded upholstery on lightly distressed painted ...

Alpine Blue Painted Wardrobe with Sunflowers Measurements: H. 183 cm - W. 128 (150 to the frames) cm - D. 55 (66 to the frames) cm Period: Late 18th century Origin: Bavarian Alps Wo...

Niermann Weeks Crystal & Wrought Iron 12 Light Chandelier

Antique French Mahogany Small Cabinet Side Table White MARBLE Louis XVI Mahogany. Direct from France to us, we’re so excited to offer this wonderful antique/vintage mahogany cabinet...

This late nineteenth century Louis XVI style gilt wood bergere or armchair features a caned seat and curved back. The seat back is detailed with a knotted ribbon at the crown as well...

Antique French Mahogany Louis XVI Chest of Drawers WHITE Marble SMALL Side Table. Direct from France to us, another classic French beauty, this elegant antique Louis XVI style chest...

Condition: Original Vintage Condition Materials: Brass, Original Tole Shade

Baker Furniture French Louis XVI Directoire Style Walnut and Brass Sideboard This sideboard measures: 72.25 wide x 19.25 deep x 32 inches high We take our photos in a controlled li...

A Magnificent French Louis XVI style Gilt Bronze Birdcage Form Multi Light Chandelier with Two Hand-Carved PInk and Amethyst Rock Crystal Birds Perched on the Inside. The exterior is highly embellished with multi-colored porcelain enameled flowers...

Opulent French mahogany commode or chest of drawers featuring a dramatic white carrara marble top. Beautifully crafted in the grand Louis XVI neoclassical taste. The case is fronted ...

Beautiful set of 4 Louis XVI style dining chairs or side chairs with new upholstery and caned backs. #7598

This stately bed has parquetry inlay adorned with gilt bronze mounts, the headboard with a ribbon topped cartouche flanked by floral guilloche and finials, the conforming footboard m...

French, early 20th century petite walnut bedside tables offering three drawers raised on slender, tapered legs. This lovely set would be ideal for a small bedroom or as end tables of...

A lovely gilt mantel mirror from 19th century France, the narrow proportions of the frame are decorated with iconic–if not romantic–themes from the court of Louis XVI and Marie Antoi...

Eugene Provost (1836-1885) France, 19th century, a charming gilt and silvered bronze sculpture depicting two putti moving a chariot with grapes and vines, on a rectangle shaped base.

A petite mahogany bookcase from France, early 20th century, that will be the perfect backdrop to display treasured collections & collectibles as well as books. The marble top surface...

Condition: Original Vintage Condition, Missing 2 Pulls On Bottom Drawer Materials: Mahogany, Missing 2 Pulls On Bottom Drawer

A French Louis XVI style Ormolu-Mounted Mahogany Vitrine Table, C. 1880, attributed to Paul Sormani.   Very good quality, nice ormolu mounts throughout, presents very well.   Measure...

A gorgeous Louis XVI style marble-topped mahogany commode from France, circa 1870, with Neoclassical and transitional details that could suit a wide range of decorating tastes today....

A gorgeous French Regency Louis XVI Chinoiserie style lighted breakfront bookcase or dining cabinet with hand-painted Chinoiserie scenes By Karges Furniture USA, Circa 1980s Green...

Exceptional 19th Century Louis XVI Style French Bed, Full Size. Bed features a wooden frame with an arched upholstered headboard, carved side rails, and two turned baluster posts on ...

This is a gorgeous set of 8 chairs that have fine time-worn appeal and character. The chairs feature beautifully carved frames and gorgeous gold leaf embossed leather seats and wil...

This is a grand and very shallow depth sideboard that was made in France during the 1950s era in the Maison Jansen style. The piece is made of kingwood and features gorgeous parquetr...

This is a very good set of 10 Attributued Maison Jansen style dining chairs in green paint and sleek dark hunter green genuine leather upholstery. The leather is in very good conditi...

French pair of wall sconces massive brass & frozen tulip glass. These torch-shaped sconces will give your home a classic look. They consist of a ring into which a torch would have b...

French mid-century bed made circa 1960, in the Louis XVI style. The patina is not the original and has been made recently. The fabric is in good condition but it can be removed if yo...

Square crystal chandelier made of brass - 12 lights, restored in Berlin, rewired For sale is an exceptional square chandelier with an impressive look and high-quality workmanship. It...

An elegant walnut & marble commode from France, 19th century, with finely carved decoration in the Louis XVI style, fitting with Empire and transitional tastes just the same. The top...

Antique Louis XVI style Oval Carved Mahogany and Marble Top Coffee Table, Side Table French, antique black marble top mahogany oval coffee or side table with ornamental apron. Car...

Exquisite antique 19th century French Louis XVI Full Size Bed. Made from solid quartersawn oak with meticulous carving throughout. Features square fluted posts with French medallion...

A striking French 19th century Louis XVI style giltwood mirror that incorporates rococo themes and Neoclassical carvings to animate the narrow, rectangular shape. The molding display...

A lovely set of six Louis XVI style painted and upholstered armless dining chairs, circa 1930. Their clean silhouettes of straight lines and squared backs is softened by the French g...

This small scale late eighteenth century Louis XVI period commode or chest of drawers is referred to as a sauteuse in French, or jumping chest, due to its high legs. Constructed of s...

Measuring only 33 inches wide, this small scale nineteenth century French Louis XVI style walnut commode or chest of drawers features a Saint Anne marble top and fluted rounded corne...

This is a lovely set of eight vintage, upholstered French white-painted Louis XVI style dining chairs with round, straight fluted legs and upholstered seat and padded back. The set ...

This early nineteenth century French Louis XVI style walnut commode or chest of drawers features a beveled Saint Anne marble top and fluted rounded corners. Its three drawers of dove...

A beautiful French Regency Louis XVI style extension dining table By Thomasville USA, Circa 1960s Carved walnut, with gorgeous book-matched walnut top, and burl wood banding. Mea...

A refined Louis XVI style marble-topped fruitwood commode from France, circa 1870, with Neoclassical and transitional details that could suit a wide range of decorating tastes today....

A Very Large and Exceptionally Fine Quality Antique Italian Micro-Mosaic Plaque Depicting "The Saint Peter Square" in Rome. The center medallion surrounded by a beautiful Laurel Wreath in multiple shades of Green Mosaic amidst a black Belgium Marble border. The interior rounded subject depicts Saint Peter Square which is found in Rome, Italy. The entire center panel is made up of a captivating array of tesserae in a variety of shapes and colors, which create this stunning mosaic construct. When inspected from up-close, small rectangular tesserae are found in an assortment of colors, which include: white, green, blue, red, black, brown, orange etc. When the subject is seen from afar, a fantastic image of the entire Saint Peter Square can be viewed as if a painting has been created. The oil on canvas of this scene, by was sold in Christie's Auction for over $2,000,000 USD. The plaque rests in a custom ebonized and gilt square frame. This can be used as a decorative object on the wall to serve as a painting, or, be converted to a table-top by mounting it on a table stand. Rome, Circa: 1850 Giovanni Paolo Panini (Piacenza 1691-1765 Rome), View of Saint Peter's Square, Rome. From Christie's Auction: Giovanni Paolo Panini arrived in Rome in 1711, painting capricci and architectural pieces in a vigorous if slightly eccentric style, and by 1719, when he was admitted to the Academy of St. Luke and the virtuosi al Pantheon, he was a rising star in the Roman art world. From around 1719-1726 he was much in demand for decorative frescoes, including quadratura, ornament and landscape and other genres, often in collaboration with figure or flower painters. During this period he worked for Cardinal Patrizi at Villa Patrizi, Cardinal Annibale Albani at Palazzo Albani (now del Drago) alle Quattro Fontane, Livio de Carolis at Palazzo de Carolis, Cardinal Alberoni at Palazzo Alberoni, Innocent XIII Conti in the Quirinal and in the library of S. Croce in Gerusalemme. In 1724 he married Caterina Gosset, the sister-in-law of Nicolas Vleughels, the director of the French Academy in Rome, to which he was admitted in 1732, and as a result he was much patronized by the French. During the 1720s he developed his figure style away from the awkwardness of his early works into one that concentrated on groups of stylishly-dressed aristocrats and skillfully modelled bystanders, sibyls and pseudo-antique figures. These he noted down in drawings (such as a sketchbook in the British Museum) that he drew upon to populate his paintings. He also began to receive commissions to design and record temporary festivals, often for French ambassadors to Rome. By the beginning of the 1730s Panini was developing a distinctive subgenre of the capriccio in which recognizable monuments are placed in imaginary topographical relationships, which were well-received in the classicizing era of Clement XII Corsini. In 1732 he was one of the panel of judges for the competition instituted by Clement for the Lateran façade, and in the following year painted an impressive View of Piazza del Quirinale for the pope. At about this time he was developing his best-known topographical subjects, interior views of St Peter's and the Pantheon, which were much in demand, to judge by the number of extant versions extending into the 1750s. By about 1734 he was beginning to attract the attention of English patrons, who ordered sets of Roman views, such as those at Marble Hill House (1738) and Castle Howard. In 1736, through Filippo Juvarra, he received important commissions from Philip V of Spain for scenes of the life of Christ in the Chinoiserie room at La Granja in Spain (1736). From as early as the 1720s he had been producing some vedute (view-paintings), initially based on prototypes by Gaspar van Wittel, and he developed the genre in subsequent decades in works that would include impressive panoramic views of the Forum or Palatine, although his staple genre was the capriccio rather than the veduta. He also expanded his repertory of church interiors, adding such churches as S. Paolo fuori le Mura and S. Agnese in Piazza Navona, as well as church interiors recording special events. His son by his first marriage, Giuseppe (1718-1805), began to support him in architectural and festival design projects. By the 1740s Panini was at the peak of his powers, and evidently had a considerable workshop helping him meet demand, especially of capricci to be used as overdoors and other decorative installations. Giovanni Paolo was successful in elevating himself socially above the usual artisanal status of genre painters, and would sometimes include a self-portrait in paintings commissioned by the great and powerful. He also appears to have been successful financially, and owned a substantial palazzo in via Monserrato. He increasingly concentrated on important commissions, such as a view of the Lottery in Piazza Montecitorio (London, National Gallery, 1743-1744), the designs for the festival decorations for the birth of the Dauphin in Palazzo Farnese (Waddesdon Manor, 1751), or the view of an imaginary picture gallery housing the collection of Cardinal Valenti Gonzaga (Wadsworth Atheneum, 1749). In the mid-1750s he received an important series of commissions from the Duc de Choiseul, French ambassador to Rome and soon to become one of the most powerful men in France, that included his best-known compositions, Ancient Rome (Roma Antica) and Modern Rome (Roma Moderna). These large paintings, of which there are three sets (in Boston and Stuttgart, the Metropolitan Museum, and the Louvre) represent imaginary picture galleries based on the Valenti Gonzaga composition but hung with what purport to be Panini's own vedute of ancient and modern sites respectively (with corresponding pieces of sculpture). These paintings sum up the eighteenth-century canon of the greatest works of architecture and sculpture, and the equivalence between modern and ancient Rome. By this time Panini was being assisted by his son by his second marriage, Francesco (1748-1800), who was a skilled draughtsman and painter who continued his father's work after his death in 1765. The Farnborough Hall paintings The Piazza S. Pietro and the Campidoglio are important vedute by Panini painted in 1750 and originally installed, with other works by Panini and Canaletto, in the seat of the Holbech family, Farnborough Hall, Warwickshire (National Trust). Farnborough Hall had been inherited in 1717 by William Holbech (circa 1699-1771), who is documented on the Grand Tour in Florence, Rome and Venice from late 1732 until his return home at the end of April 1734 with his brother Hugh. Holbech is said to have gone on the Grand Tour to recover from a broken heart and to have spent a considerable time there prior to these documented appearances. During his time in Rome he acquired two Paninis, which were seen by an anonymous antiquary around 1746, who referred to various sculptures "all brought from Rome with two pictures, one of the Rotunda, and the other of diverse buildings by Panino" (British Library, Add. MS 6230, pp. 31-32). The Rotunda (the Pantheon) is a painting now in a private collection in New York, and is signed and dated 1734. The Diverse Buildings, which was probably one of Panini's capricci, has not been identified. On his Grand Tour Holbech seems also to have acquired two Canalettos, although they are not mentioned by the antiquary, who may only have had eyes for things Roman. In about 1746-1747, Holbech remodelled the house by creating a Saloon, now the dining room, at the back of the house. This room, the entrance hall, the staircase, library and closet were stuccoed by William Perritt of York, and a bill for this work dated 14 November 1750 survives (or survived until recently; G. Beard, Decorative Plasterwork in Great Britain, London, 1975, p. 233). The two Canalettos acquired on the Grand Tour were installed in the Saloon, together with two new works commissioned from Canaletto, who was then in England and working nearby at Warwick Castle in 1748. The two Paninis acquired on the Grand Tour may have been installed in the Library, as Alastair Laing assumes (op. cit.), while three new works commissioned from Panini in Rome were placed in the Hall and Saloon: the Piazza S. Pietro for the overmantel in the Hall (fig. 1), the Campidoglio as the overmantel in the Saloon (fig. 2), and an Interior of St Peter's (now in Detroit) (fig. 3) on the adjacent wall facing the windows. Two of the Canalettos flanked the Campidoglio, while the others were on the opposite wall. The Interior of St Peter's was therefore effectively the fifth member of the Canaletto set, distinct from the two overmantels. Holbech's installation of his Canalettos and Paninis in fixed stucco frames was unusual for England in 1750, and had probably been inspired by what he had seen on his Grand Tour in Northern Italy, where fixed stucco installations of canvases were common in the 1720s and 1730s (Cornforth, II, p. 51). The Campidoglio and the Interior of St Peter's are both signed and dated 1750, a date that corresponds to the payments for the stucco. The commission for the new Paninis would have been made through an agent, possibly the Roman dealer in antiquities Belisario Amidei from whom some of the antique busts in the Hall were acquired in 1745, who was also a picture dealer; or perhaps the painter Pietro Berton, who on 7 December 1750 shipped a Panini to England. The paintings were sold to Savile Gallery in 1929 and replaced by copies by one Mohammed Ayoub. The four Canalettos were exhibited at Savile Gallery in 1930 and entered the London art trade, finding their way at various times to Augsburg, Melbourne, Ottawa and a private collection. The Paninis seem to have been resold immediately to Knoedler & Co. in New York. When the stucco was removed from the library by Holbech's great-grandson, another William Holbech, shortly after his succession in 1812, the Interior of the Pantheon and the Diverse Buildings may have been taken down. Although there is no record of either painting being at Farnborough subsequently, the Interior of the Pantheon at least must have remained there, since it appeared at Knoedler's in 1930 at about the same time as the other Paninis, and was presumably acquired at the same time from the same source. The Campidoglio was a rare subject for Panini: this is the only known extant version, apart from fictive versions in the Metropolitan Museum (1757) (figs. 4) and Louvre (1759) versions of his Roma Moderna composition (but not in the first Boston version of 1757). Probably Holbech insisted on the choice of subject in order to represent the centre of Rome's civic administration to complement the religious one of St Peter's. The Campidoglio may have been of interest to English patrons because it represented the seat of a form of government they were more comfortable with than the papacy. For example, Canaletto painted the subject, together with English subjects, for Thomas Hollis, 'the most bigoted of all Republicans' in 1755, who may have wanted to 'represent London as the heir to the legacy of Ancient Rome and Renaissance Italy' (see Michael Liversidge and Jane Farrington, eds., Canaletto and England, exhibition catalogue, Birmingham Museums and Art Gallery, London, 1993, p. 25). Canaletto also painted the subject for Sir Richard Neave, Ist Baronet (1731-1814) of Dagnam Park, Essex, at the end of his English stay or shortly afterwards (i.e. 1755-1766) (sold, Sotheby's, London, 10 July 2002, lot 8). Like Holbech, Neave mixed Venetian and Roman subjects, but his Roman subjects steer clear of St Peter's: the others were the Piazza del Quirinale and Piazza Navona. While Holbech had gone to both Venice and Rome and commissioned views of both cities, Rome sets the keynote for his decoration: antique busts line the Hall, and its religious and civic centres are the overmantels in the Hall and Saloon respectively. The Piazza S. Pietro The Piazza S. Pietro shows the piazza much as it appears today, apart from the absence of Valadier's late eighteenth-century clocks on the towers. Bernini's colonnade (1656-1667), both ends of which are visible, reaches out its arms to embrace the viewer. In the center of the piazza is the obelisk moved by Sixtus V in 1586 from the left side of the church where it had formed part of the Circus of Nero. On either side are two fountains, the one on the right by Carlo Maderno (1613) and the one on the left created to match it by Carlo Fontana in 1677. Beyond is the rectangular forecourt to the church, the piazza retta, leading to the façade by Maderno, completed in 1610, and the dome by Michelangelo, Giacomo della Porta and Domenico Fontana. To the right of the façade the roof of the Sistine Chapel is just visible, followed by the Cortile di S. Damaso, the palace of the Swiss Guards and the palace of Paul V. A Cardinal is being driven in a carriage across the piazza at the right in the direction of the Borgo Nuovo and Ponte S. Angelo with his blue-liveried retinue and subsidiary carriages. Unlike the later versions of the subject that depict the Duke de Choiseul, there seems to be no intent to portray any particular cardinal: the procession of a cardinal here is presented simply as characteristic activity within the piazza. Various groups of figures, including well-dressed women in brightly colored dresses, Swiss Guards, priests, gentlemen, idlers and a pilgrim are distributed around the piazza. In the foreground an imaginary heap of fallen masonry provides visual interest in an otherwise dead space. Panini painted the Piazza S. Pietro on a number of occasions, and his works falls into two types, one with the viewpoint shifted slightly to left of the axis, as in the Farnborough Hall version, and one with it shifted slightly to the right. The first type is based on a composition by Gaspar van Wittel, of which there are numerous versions from 1684 until 1721 (Fig. 9 van Wittel). The work by Panini that seems closest to Van Wittel and therefore probably the earliest is the version in the Circolo della Caccia, Rome, which has been dated to the second half of the 1730s, but is probably a decade or so earlier. Another, on the London art market in 2002-2009, and a version with workshop participation at Sotheby's, Milan (20 November 2007, lot 137) and currently on the art market in Rome, are closer to an important painting in Toledo (Arisi no. 308) that is signed and dated 1741 (fig. 6). Van Wittel employed a wide format (about 2:1), showed both of the end faces of the colonnade almost to their full extent, and introduced the theme of a heap of masonry to enliven the foreground. His choice of perspective implies a viewpoint located in the small piazza between the Borgo Nuovo and Borgo Vecchio, now the Piazza Pio XII at the top of the Via della Conciliazione. From this viewpoint a building at the left tended to interfere with the view of the end of the left arm, as can be seen from the Nolli map...

This is a flamboyant pair of bright gold leaf gilded Robin's egg blue distressed finish commodes. The gold is newer and the painted finish probably is too. There are some minor defec...

Dimensions - H: 55 1/2 in W: 34 in D: 1 1/2 in A magnificent antique late 19th-century French Louis XVI-style trumeau mirror, exquisitely carved and finished in a refined grayish-g...

This small scale late eighteenth century French Louis XVI period walnut lady's writing desk features a gold tooled black leather top. A single drawer pulls out from the side using a ...

Antique French Louis XVI Console Table Foyer Demilune Carved Bleached Wood c1890. Direct from France, a highly carved antique French console or foyer table, with classic demilune sh...

A gorgeous French Art Nouveau period carved walnut queen size bed frame In the manner of Louis Majorelle France, Circa 1900 Measures: 63"W x 88"D x 59.25"H. Internal dimensions: 5...

This mid nineteenth century French Louis XVI style mahogany demi-lune console table features a white marble top surrounded by a pierced bronze gallery. Bronze banding with beading de...

This late nineteenth century French Louis XVI style mahogany bibliotheque or bookcase features bronze detailing of rosettes at the die joints and a plaque at the crown with a floral ...

Elevate your fireplace with the romantic elegance of this vintage Rococo-style trifold fireplace screen, crafted in the 1930s. Made from solid lacquered brass and standing on regal ...

Late 19th century Louis XVI bronze, wood, and marble commode by François Linke after a Model by Jean-François Leleu, France By: Francois Linke, Jean-François Leleu (in the style of)...

Set of 8 Louis XVI- Style Painted Dining Chairs - 2 arm and 6 side chairs - all upholstered in Cowtan and Tout fabric.

This elegant mahogany and marble demilune console from France, 19th century, is a fantastic addition to any space, as a console or even a small desserte table and bar. It is topped w...

This is a very good set of 10 Attributued Maison Jansen style dining chairs in green paint and sleek dark hunter green genuine leather upholstery. The leather is in very good conditi...

Antique Italian Louis XVI style walnut chest of drawers, 19th century. With a rectangular walnut top with tulipwood banding, 3 drawers with tulipwood banding and brass pulls, resting...

Beautiful iron bed painted in brown-burgundy, with a decoration of flowers and foliage enhanced with gold, and bronze endinds Good general condition, wear to the patina Italian...

This elegant pair of 19th century French nightstands embodies the charm and sophistication of neoclassical design. Each features a prist...

18th Century Portrait of a Nobleman. Beautiful painting purchased in France. Age appropriate wear, see detailed photos or message us with any questions. Inner Frame Dimensions: Hei...

18th century Altar Modell, South Germany, with original painting, wood A rare altar model with original painting, in the middle Jesus Christus and on the ...

This mid nineteenth century French Louis XVI style commode or chest of drawers features burl walnut panels and fluted rounded corners. Its three drawers of dovetail construction are ...

A French petite mirror in the Louis XVI style, dating to the 19th century, with incredible, carved gilt wood detail set off by the ebonized (painted) backpanel. At the top of the pie...

A gorgeous French Regency Louis XVI style demilune cabinet or chest of drawers In the manner of Baker Furniture USA, Circa Late 20th Century Beautiful burl wood, with inlaid satin...

Beautiful and charming Scent Box in silver in the shape of a heart with a gilded crown in Louis XVI from the late 18th Century. Probably made in Denmark. Inside in gilded silver. Own...

Rectangular Secrétaire in rosewood in frames of rosewood. It opens with a drawer in the upper part and a flap discovering two drawers, Feet with cut sides. In the lower part ornamen...

A pair of Louis XVI-Style Giltwood Fauteuils, 19th Century. 25 inches wide by 25 inches deep by 37 ½; seat height 17 inches

Painted Tyrolean Chest, Blue Measurements: H. 88 cm - W. 149 cm - D. 64 cm Period: about 1810 Origin: Tyrol Wood: Fir Description: Beautiful and large painted Tyrolean chest, entir...

This late eighteenth century French Louis XVI period walnut commode or chest of drawers features its original Saint Anne marble top. Its three drawers of dovetail construction are de...

A lovely pair of vintage French brass hall lanterns with Louis XVI motifs for a sophisticated touch of glamour on the gleaming metal. Descending from polished ceiling canopies featur...