Louis XVI Furniture

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 large antique French trumeau mirror with grey paint and decor with musical trophy and the top, made in hand carved in pine.

Very unusual and large conversation settee - canapé à confident. Carved gilt-wood and velvet fabric, circa 1880.

Pair of French Louis XV Revival Nightstands/Bedside Tables C1950s Gorgeous pair of French Louis XV style nightstands/bedside tables with a sweetheart motif. A delightfully dainty du...

A dramatic French 18th century Louis XVI-style center table, with an exquisite giltwood base supporting its original thick slab of (removable) dark gray marble. The monochromatic sto...

Meet our stunning King French Oak Bed, a beautifully replicated Louis XVI bed made from white oak with meticulous attention to detail. Each intricate carving is embellished with love...

A beautifully constructed French settee from the 19th century incorporating Louis XVI decorative motifs and proportions that would also fit with Empire or Directoire tastes as well. ...

A gorgeous Louis XVI style, marble-topped walnut commode from France (late 19th century) with transitional details that could suit a wide range of decorating tastes today. The dark s...

A Louis XVI style triple dresser made by Dixie Furniture circa 1970. Three top drawers are paneled to give the look of four and open with rosette pressed knob handles. Lower drawers ...

Antique French Louis XVI style Bergere library wingback reading chair, circa 1890-1910. Made from walnut with a striking pediment featuring a quiver, arrows and torch amongst roses ...

A timeless case piece, this 19th century Louis XVI style enfilade has a (more recent) ebonized finish that beautifully contrasts the brass accents for a touch of drama in a foyer or ...

A charming Mid-20th Century hand-painted desk or vanity crafted by Hampton Shops of New York. This elegant piece reflects a Venetian Revival style, showcasing chinoiserie-inspired sc...

Meet our stunning Queen French Oak Bed, a beautifully replicated Louis XVI bed made from white oak with meticulous attention to detail. Each intricate carving is embellished with lov...

Created for Maison Jansen and signed by designer Maurice Hirsch, this mid twentieth century Louis XVI style mahogany buffet features fluted rounded corners and a beveled white marble...

Pair of Vintage Chairs from France, Original painted finish, in a creamy tone with gold gilt and pink velvet. 24" x 24" x 36"h Arm Height 24" / Seat height 18". / Seat depth 20" Th...

A beautiful pair of French Louis XVI carved and painted bergere chairs in a pretty neo-classical chintz. The frames are painted in and ivory and celadon. The vintage upholstery has n...

Handsome louis XVI style desk with original leather top. It has a drawer that glides easily and has a lock. It has a reeded leg ending in a gilt capped foot.

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 ...

Rectangular external frame with inward corners for oval photo, in 925/1000 gold-plated sterling silver with two-tone translucent enamel on guilloche. Borders and ornaments in French ...

A beautiful French Regency Louis XVI style carved mahogany extension dining table In the manner of Kindel Furniture USA, Circa 1960s Measures: 72"W x 42"D x 30.25"H. Extends up to...

A beautiful pair of French Louis XVI carved and painted bergere chairs in a pretty neo-classical chintz. The frames are painted in and ivory and celadon. The vintage upholstery has n...

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...

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...

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!...

A versatile Louis XVI style center table from the 19th century, it has excellent proportions and color to suit a number of functions around the home from console, to occasional table...

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...

Italian imperial Louis XVI watch triptych 1970s

This beautifully proportioned 19th Century signed Baccarat chandelier, originally candle powered has been electrfied. The gilt bronze frame is hung with hand blown ‘teardrop’ prisms....

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

Louis XVI Style Pink Marble Mantel Circa 1980 Fireplace dimensions: 83 x 94 cm

Unusual pair of curved Maison Jansen's settees, lacquered carved wood with silk blue velvet upholstery. This pair of sofas are the perfect example of the high quality of the Maison ...

The fine flame mahogany used in the construction of this Exceptional piece of furniture exhibits the quality of material And craftsmanship that were used to make this piece. The whit...

An elegant and compact Italian chest of drawers in Louis XVI style, veneered with coloured woods on the top, sides, and front. Lombardy origin, late 18th century Among the many styl...

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...

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...

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

This is such a lovely piece! It is a 19th century French Louis XVI style carved giltwood settee in vintage upholstery. The frame shows some non-offensive chippiness. The upholstery i...

Dimensions - H: 32 1/4 in W: 36 in D: 17 1/2 in Bring timeless refinement to your interior with this sophisticated pair of Louis XVI Directoire style three-drawer commodes from the...

An oval Louis XVI style writing desk. Three panels of black leather are framed with a scrolled gilt border. Four dovetailed drawers with beveled paneled fronts, open with round brass...

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...

French Chest of drawers/commode in the Louis XVI style with a “serpentine” front. The chest is made of Mahogany and finished with a Museum quality French polish. Original Bronze hard...

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 refined example of late 18th-century Italian neoclassical furniture, this petite chest of drawers is both elegant and functional. Veneered in a sophisticated blend of walnut and ol...

This table is made in Italy for Andrew Kornat Designs to his exacting specification - the very traditional style of hoof footed Gueridon Table is a classical French design that been ...

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...

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...

A petit antique 19th century Carrara Marble fireplace in the Louis XVI manner The console jambs twin fluted terminating in classical square Patarae corner blocks. The bow fronted fri...

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...

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...

Amazing pair of lounge armchairs made in the grand neoclassical Louis XVI style. Distinctively restored with new high end ivory/beige and touch of gold linen blend upholstery with a...

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 beautiful French Regency Louis XVI style walnut extension dining table By Drexel Heritage USA, Circa 1960s Measures: 56"W x 40"D x 29.13"H. Extends up to 91.5"W with 11.75" leav...

An exceptional French Art Deco or Louis XVI style highboy dresser or chest of drawers In the manner of Romweber By Joerns Bros. USA, Circa 1920s Beautiful book-matched inlaid bur...

constructed entirely of walnut and walnut veneers with secondary wood on the back and inner drawer rails, the rectangular top with a double banded alternating inlays resting atop a c...

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...

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...

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....

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...

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

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...

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...

Dimensions- H: 66 3/4in W: 38in D: 13 3/4in This Antique Distressed French Louis XVI Style Curio Cabinet, China Cabinet is made of the highest...

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 ...

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 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...

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 ...

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 ...

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...

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 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 ...

This small scale early twentieth century French Louis XVI style hand carved beech wood side table features a rose colored marble top with grey and white veining. A rais-de-coeur patt...

18th Century Country French Louis XVI Whitewashed Commode is a late period piece, resplendent with the hand-crafted excellence that defines furnishings from this country during the e...