19th Century Louis XVI Gilt Bronze Mounted Vitrine Table by C. Mellier & Co.

Gilt and bronze mounted mahogany low table/coffee table in the 19th century transitional Louis XV-Louis XVI style. Front and back applied bronze plaques with mythological scene of pu...

Large fine quality 19th century Louis XVI marble top mirrored vitrine/display cabinet. Two individual single door top and bottom mirrored cabinet sect...

An exceptional French Regency Louis XVI style ebonized and gilt extension dining table by Karges Furniture USA, Circa 1990s. Gorgeous book-matched burled walnut top, with carved and ...

Antique 19th century gilt bronze mounted quarter sawn French oak marble top and mirrored enfilade buffet . Fine quality antique French buffet with carved fluted columns and gilt bron...

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 beautiful and very fine French gilt-bronze mounted vitrine / display case table with elegant silk tufted interior, having a high quality solid wood frame, exquisitely finished in l...

A Superb Quality French 19th Century Louis XVI Style Ormolu Mounted Mahogany and Kingwood Vitrine Table, Attributed to Henry Dasson (French, 1825-1896), with a beveled glass lift top...

A wonderful late 19th century gilt bronze Mounted Louis XV style Vitrine table by Joseph Zwiener Joseph Zwiener The oval shaped table with a beveled glass top encircled by a bronze frieze, above four side glass panels, the canted angles set with pierced foliate-cast clasps, standing on cabriole legs tapering to scrolled sabots. Born in Herdon, Germany, in 1849, Joseph Emmanuel Zwiener followed the tradition of some of the best ébnistes of the nineteenth century. He moved to Paris establishing a workshop at 12, rue de la Roquette, between 1880 and 1895. He produced a wide array of the very finest furniture, modeling in his own interpretations of the eighteenth century Louis XV Rococo style, veneered with the highest and finest quality marquetry and ‘Vernis Martin’ panels. Exhibiting at the Exposition Universelle, Paris, in 1889, Zwiener was awarded a gold medal for what the jury reported as ‘dè ses dèbuts à une Exposition Universelle, [il] s’est mi au premier rang par la richesse, la hardinesse, et le fini de ses meubles incrustés de bronze et fort habilment marquetés.’ Zwiener was closely associated with François Linke, and the two houses produced work which, at first glance, is remarkably similar and with occasionally identical mounts. The similarities are made more likely by the fact that the brilliant sculptor, Léon Messagé, worked initially for Zwiener and subsequently, upon Zwiener’s departure for Berlin to work on furniture commissioned by Freidrich Wilhelm II , he was employed in the workshop of François Linke. It appears that Zwiener, unlike Linke, did not sign all his work, although some stamped pieces with his name and/or his “Z” initial are documented. There is some uncertainty between the recorded stamp E. Zwiener and the work of a Julius Zwiener...