Antik Szalon garnitura , 20 század

Ez egy klasszicista stílus ülő szalon garnitúra, finom es elegáns kecses jelenéséével. Maga a szövetben áll a különlegesé, amiben egy hímzett szövetről, kárpitról van szó, régi góbén...

Bemutatjuk Önnek ezt a különleges fotel , Reneszánsz stílusban. A bemutatott darab korának megfelelő állapotban van, restaurált es újon kárpitozott. Megvásárolható hozzá az íróas...

Bemutatjuk Önnek ezt a különleges íróasztal , Reneszánsz stílusban duóst faragássakkal díszítve A bemutatott darab korának megfelelő állapotban van. (A hozza illó könyves vitrin...

Bemutatjuk Önnek ezt a különleges antik festmény. A bemutatott darab korának megfelelő állapotban van.

Bemutatjuk Önnek ezt a különleges könyves vitrint , Reneszánsz stílusban dús faragássokkal díszítve A bemutatott darab korának megfelelő állapotban van. (A hozza illó íróasztal is...

Bemutatjuk Önnek ezt a különleges masszív es tagos Étkező Találó de akar mint könyves szekrény használható , Barokk stílusban A bemutatott darab korának megfelelő állapotban van.

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...

Early 20th century 7 piece carved walnut salon suite circa 1920 Here we have a good quality salon suite ready to be recovered to bring it back to former glory. Set comprises of 1 la...

2 x Armchair (sz20) 1 x sofa (bz20) model Sandwich. Design by Claire Bataille and Paul Ibens for 't Spectrum collection from 1973-1974. 2 x Fauteuil (sz20) 1 x sofa (bz20) model Sandwich. Ontwerp van Claire...

Style and comfort, an early 20th century Chippendale Revival carved mahogany sofa with straight back, flared arms and tight seat. Sofa frame, rails and legs are hand crafted with int...

Wicker sitting room consisting of pair of rocking chairs, magazine rack, two side tables and cart, the latter three with glass tops. Product that due to age and wear requires re-poli...

Mid 20th Century Teak slatted bench on a strong thin metal frame, a sleek Scandinavian design. CONDITION In Good Condition - wear and tear consistent with age. SIZE Width: 182cm De...