Baroque Furniture

Antique flat-lidded chest from the 17th century. Renaissance / Early Baroque. Made in 1691 in oak wood. Until recently, the chest was owned for 333 years by a family of lawyers from ...

19th century Baroque Spanish side table with marquetry & painted top 19th century Spanish trestle table in walnut. This piec...

Grand 19th century Spanish armario or wardrobe armoire constructed from walnut. Features a coffered case fronted by two doors. This massive cabinet made in Spain features beautiful w...

Early 17th century French School "Virgin and Child " Oil on canvas (Original canvas, restorations, gaps) 71.5 x 60.3 cm Provenance Duc de Lesdiguières, according to an old label ...

A fine antique Dutch Delft pottery plate. By the De Porceleyne Bijl (The Porcelain Axe) factory. With a broad flat rim and a shallow well. The well decorated in underglaze blue with a Chinese garden scene including a fence, tree, stylized ferns, and a large chrysanthemum flower. The rim decorated with flowers and scrollwork and a yellow painted line to the rim. Marked to the reverse with a stylized blue axe mark to the reverse. Simply a wonderful antique Delft plate...

Beautiful vintage table lamp with matching vintage lampshade with special shape, the lamp base is made of onyx marble from Pakistan, decorated with brass intermediate pieces and very...

Stunning Italian gold gilt crystal vase, dating to circa 1850 if not earlier. A true artisan and visionary sculpted this work from thick, heavy glass to create the trumpet form with ...

Antique baroque style walnut chest of drawers, early 19th century. This chest has great original color / patina. The top lifts up, the bottom two drawers work.

This stunning 19th-century French decorative fan is a testament to exquisite craftsmanship and artistic elegance. The fan leaf is meticulously hand-painted on vellum or silk, featuri...

Spanish colonial narrow console table. This piece has legs with two pedestals joined by a wooden stretcher.

The serpentine front on this magnificent commode is sophisticated and gives it gravitas. It has a rich colour and lustrous patina and has come from a private collection, Semenzato Ve...

These will be newly wired with certified US UL sockets for the USA and appropriate sockets for all other countries and ready to hang. Metal scroll with perfect patina. Housing three ...

A fine antique Dutch Delft pottery plate. With a white porcelain ground richly decorated with blue, green, yellow and orange flowers and foliage. With a brown underglaze De Klaauw ...

1890 Antique French Tapestry Arts & Crafts Ceremonial 8x9 7'10" x 8'5" 239cm x 257cm 1890 "This is an outstanding very large antique French tapestry- This room size piece incorporat...

Wonderful oval centerpiece made in sterling silver by Ilario Pradella for Bellezza Cagliari. New, never used. This centerpiece was personally designed by Gianmaria Buccelati who, by...

Baroque period stone top table from the 18th century, Sweden. This impressive table features a deep plum colored 2" thick stone top. The base has one drawer with divided interior and...

pair of circa 1920's Caldwell silver plated bronze sconces with waves design, two lights

Important Spanish Cabinet 17th century in blackened wood and tortoiseshell veneer. It opens with eight drawers framing a central door, surrounded by two columns. Richly decorated w...

Wonderful and unique small hand carved oak lion fragment. Beautiful weathered. France circa 1650-1750 Weathered. measurements include the wooden pedestal. H:11cm W:6cm D:5,5cm

Attribution to Francesco Solimena "Resurrection of Christ" 18th Century oil on canvas (129x77 cm.) framed good condition for the period Francesco Solimena, also called l'Abate C...

A very fine Italian 18th century oil on canvas "Madonna and Child" after Giovanni Lanfranco (Italian, 1582-1647). The young Virgin Mary attending to...

Opulent set of ten grand walnut dining chairs designed by Therien Studio Workshop for Dessin Fournir. The bespoke set consists of eight side chairs and two host armchairs. The Volute...

Italian painting from 1600 Banquet with Figures Memento Mori by Giovanni Martinelli, titled Death Comes to the Banquet Table, vanitas circa 1635. The oil-on-canvas painting is inspi...

Beautiful 17th C. Medium Sized Mirror, Vintage glass

Important oil on panel by the great Dutch artist Philips Wouwerman (also Wouwermans) (1619 – 1668) a painter of hunting, landscape and battle scenes....

This listing is for the base only. The contemporary indoor or outdoor pedestal can be used in combination with a stone, glass or wood top for dining or conference table. The 19th century cast iron...

Good 18th century Swedish miniature Baroque jewellery box / commode in it's original finish with good patination. ca 1750 Sweden.

Petit demilune cabinet with raised diamond door fronts, animal style feet and dental molding. Interior shelves. Can be made in any size and finish. Made in Los Angles by Dos Gallos S...

17th century Antique Aubusson/Gobelin tapestry, France Architectural landscape, silk Antique Museal Aubosson tapestry made of silk and partly wool. Very fine and antique design. Dep...

Pair of custom petite embossed silk velvet pillows with 19th century metallic Italian appliques affixed to the fronts. The backs are a coordinating silk. Down inserts, zipper closu...

Pair of baroque hand-carved giltwood candlesticks from Italy. Sold together and priced $3,800 for the pair. Note: Original/early finish on ant...

A rare and exquisite Venetian Silk Lampas Cover in the most glorious colourway of opulent shimmering Green and Gold Changes colour depending on position and light Dating from circ...

Our artisan's pieces are a dream come true, as in Disney's Cinderella. Ceramic tea service are completely hand-crafted and painted with love and care. A set is composed by a teap...

A very good antique Italian baroque walnut cabinet, Tuscany, circa 1680. The cabinet had been part of the M.H. de Young Memorial Museum San Francisco (now The de Young Museum), and w...

Our artisan's pieces are a dream come true, as in Disney's Alice in Wonderland. Ceramic tea service are completely hand-crafted and painted with love and care. Sometimes we all just need to have a little stress relief. We want to escape the ordinary days, made of work and pain. Give yourself a little gift with those fabolous creations full of poetry and fairytales. Our artist models every single detail with patience and love, to bring us back in a world made of dreams and feelings. The collection recalls Alice in wonderland and Cinderella, taking us to a trip in our childhood, a world that lives silently inside, giving us the strength to always believe...

A Spanish set of eight carved wood and tooled leather side chairs from the mid 20th century. These vintage chairs from Spain, designed with Baroque influences, each have high-arched ...

Baroque Florentine style wood carved, gilt wood mirror, late 19th century. Vigorously carved with old gold leaf that has mellowed with age.

Table made during the baroque period in Sweden. Made from oak. Later painted in brown with a waxed surface. Legs in baluster shape. One drawer in the front.

Beautiful Hand carved group of winged angelheads. Wonderful traces of paint are visible and the wood has a gorgeous natural patina due to its high age Spain, circa 1650-1750 Weathere...

Matteo Lovatti (Italian, 1861-1909) A Fine 19th-Century Oil on Canvas Titled 'Church V. State - The Fencing Lesson'. The finely detailed artwork depicting an interior tavern scene, f...

Wonderful and detailed reliquary holder with its beautiful weathered original silver, Italy, circa 1750. Weathered and small losses and old repairs.

Antique Velvet Pillow Hand made incorporating early textiles Early 18th Century Italian Genoa Silk and Metallic Velvet Front. Jardiniere Des...

Antique Italian baroque gold leaf beveled mirror, Italy, c. 1920's. Magnificent wall mirror pairing both Florentine and Venetian styles. The frame is exquisitely carved having a un...

A fine antique German Baroque inlaid marquetry walnut dowry chest coffer circa 1700. The coffer having a lift up lid enclosing a storage space for clothing or linens, the chest is fi...

Pair Of Italian Bedside Lamps 1800 urns carved and lacquered in the tones of Gray, Green and Ochre with shield shade, using as bases two antique palm holders lacquered in the tones o...

**Cherished Antique Chandelier - Lovingly Restored in Berlin** Introducing an exquisite antique chandelier that has been lovingly restored in Berlin. Its electrical wiring is compat...

Antique Italian baroque arched giltwood standing mirror with heavily carved gilt frame. Hang on a wall or sit on a table, a perfect mirror to add interest to any room. Great for a va...

The Netherlands Amsterdam Circa 1625 – 1650 A blue and white Dutch tile with a decoration of a Dutch soldier from the period of the 80 Years War. This soldier could be a member of t...

Antique Italian Baroque double bed in solid walnut and veneered walnut restored and wax-polished, circa 1850 Measures cm: H182\111 W183 D220 (internal 170 x 200). ABOUT Bassano's ...

Tapestry from the Royal Manufacture of Aubusson, Louis XVI period , made in 1738 at the Gobelins One panel from a series of Gobelins tapestries depicting the History of Esther, illustrating Esther seated and attended by handmaidens, one washing her feet in golden basin, another fastening a bracelet, another offering a mirror, all observed by Mordecai, woven in the workshop of Michele Audran after a design by J. F. de Troy. The Toilet of Esther c.1778-85.Royal Collection Trust-Queens Audience Chamber Windsor Castle The Sketches for the Esther Cycle by Jean-François de Troy (1736) “and the maid was fair and beautiful; whom Mor’decai, ..., took for his own daughter.” (Est. 2:7) A supple and undulating genius, both a flattering portraitist and a prolix history painter, as well as a brilliant genre painter, in a gallant or worldly vein, Jean-François de Troy (Paris, 1679 – Rome, 1752), solicited, although he had passed the threshold of old age, a new royal commission up to his ambitions. To obtain it, he submitted – successfully - for the approval of the Bâtiments du roi (administration), seven modelli painted in 1736 with his usual alacrity. Inspired by one of the most novelistic texts of the Old Testament, the Book of Esther, these sketches in a rapid and virtuoso manner were transformed by the artist, between 1737 and 1740 into large cartoons intended to serve as models for the weavers of the Gobelins factory. Showing undeniable ease and skill in the composition in perfect harmony with the sensitivities of the times, the tapestry set met with great success. The Story of Esther perfectly corresponded to the plan of the Bâtiments du roi to renew the repertoire of tapestry models used for the weavers of the royal factories while it also conformed to the tastes of Louis XV’s subjects for a fantastical Orient, the set for a dramatic tale in which splendour, love and death were combined. Indeed, no tapestry set was woven in France during the 18th century as often as that of Esther. The series of modelli painted by de Troy during the year 1736 looks to the history of French painting and decoration under Louis XV as much as it does the history of the Gobelins. It probably counts among the most important rococo pictorial groups to have remained in private hands. First the Biblical source illustrated by De Troy which constitutes the base of one of the richest iconographical traditions of Western art will be considered. Then the circumstances and specific character of French civilisation during the reigns of Louis XIV and Louis XV which contributed to making the theme of Esther a relevant subject, both attractive to contemporaries and remarkably in line with the sensitivities of the time will be elucidated. An examination of the exceptional series of sketches united here, the cartoons and the tapestries that they anticipate as well as a study of their reception will close this essay. The Book of Esther: A scriptural source at the source of rich iconography. The origin of the Esther tapestry set by Jean-François de Troy – origin and creation of a masterpiece According to the evidence of one of the artist’s early biographers, the chevalier de Valory, author of a posthumous elegy of the master, read at the Académie royale de peinture et de sculpture on 6 February 1762, it was apparently due to early16 rivalry with François Lemoyne (1688-1737), his younger colleague who had precisely just been appointed First Painter to the King in 1736, that had encouraged François de Troy to seek a commission allowing him to show off his ease and his promptitude at the expense of a rival who was notoriously laborious: “M. De Troy, retaining some resentment of the kind of disadvantage which he believed to have suffered compared with his emulator looked to regain some territory by making use of the facility his rival did not possess. Lemoyne was excessively long in the creation of his works,and M. De Troy of a rare celerity: consequently, with this particular talent, the latter offered to the court to make paintings appropriate to be executed at the Gobelins Factory; and it is to this circumstance that we owe the beautiful series of the Story of Esther, which would be sufficient alone to give him a great reputation.”17 Beyond the suspicion inspired by the topos, which still constitutes, more or less, a tale of rivalries between artists in ancient literature, there is probably some truth in what Valory reports although A.-J. Dezalier d’Argenville (who indicates rather spitefully that de Troy did not hesitate to “cut prices” to impose himself, benefitting from the productivity assured by the unlikely rapidity of his brush)18 proves to be more evasive: “As he looked to busy himself, he had offered to make the paintings that serve as models for the King’s tapestries cheaply: which did not please his colleagues. He was given a choice of two tapestry series to be made and he took the Story of Esther and that of Jason”.19 Whether or not the choice was actually left to de Troy (which would appear rather casual on the royal administration’s part all the same), it seems likely that the artist, whose contemporaries extol his “fire”, as the faculty of invention was then called, must have ardently aspired to the possibility of using on a very large scale the “creative genius” with which Dezallier d’Argenville credits him. The decoration of the private apartments, the fashion for which Louis XV had promoted at Versailles and Fontainebleau, offered little opportunity to excel in this area. Other than painting for altarpieces, only tapestries could allow comparison with Lemoyne who had been granted – unfortunately for him – a major decoration: the enormous ceiling of the Hercules Room at Versailles. Favoured by the recent improvement in France’s financial situation, the revival of patronage offered de Troy a commission fitting for him, in a field in which, however, he had hardly any experience. Anxious to renew the repertoire of models available to the Gobelins factory, the Duc d’Antin, surintendant des Bâtiments du roi from 1708 to 1736 followed by his successor, Philibert Orry comte de Vignory, gave him the task of producing seven large cartoons inspired by the Book of Esther corresponding to the brilliant sketches or modelli which de Troy had produced in one go, or almost (very few preparatory drawings can in fact be linked to the Esther cycle and all seem to be at the execution stage of the cartoons).20 Subjected to the approval of the Administration des Bâtiments according to the procedure in use for projects being planned for the Gobelins, sketches made rapidly during 1736 were approved and the project launched immediately. Thereupon came the news of François Lemoyne’s death, who, ground down by work and a victim of his private torment, committed suicide on 4 June 1737. Against all expectations, de Troy did not replace his rival in the position of First Painter (which remained vacant until the appointment of Charles Coypel in January 1747), which would perhaps have made him too obviously the beneficiary of the drama. The awarding of the position of Director of the French Academy in Rome came to console him while he had already produced (or he was in the process of finishing), in Paris, three of the seven cartoons of the cycle (The Fainting of Esther finished in 1737 and the Toilet and Coronation of Esther, both finished in 1738). De Troy, we can see, did not follow the order of the narrative but began with the subjects which apparently offered the least difficulty because he had already depicted them, or because they fall into a strong pictorial tradition (such is the case especially for the Fainting of Esther). He had hardly settled at the Palazzo Mancini in August 1738, when his first task which awaited the new director of the French Academy naturally consisted of honouring the royal commission and finishing without delay the final cartoons of the Story of Esther after the sketches he must have taken with him. As prompt as ever, de Troy discharged himself of the execution of the four remaining cartoons in only two years, by beginning with the largest format which allowed him to strike the imagination and to impose himself as soon as he arrived on the Roman stage: the Triumph of Mor’decai which was finished in 1739 (like Esther’s Banquet). The following year, the Mor’decai's Disdain and The Sentencing of Haman were brought to an end in the same Neo-Venetian style, obviously tributary to Veronese with its choice of “open” monumental architecture which is characteristic of the entire cycle.21 The series, it should be noted, was almost augmented with some additional scenes in the mid 1740s. Indeed, the first tapestry set finished at the Gobelins in 1744 proved to be unsuitable for the arrangement of the Dauphine’s apartments at Versailles for which it had been intended to decorate the walls the following year (cf infra). Informed of this, de Troy, considering that the story of Esther offered “several good subjects,” immediately offered to illustrate one or new subject among those “which could appear to be the most interesting”. The directeur des Bâtiments Orry, who managed the State’s accounts, obviously judged it less costly to have one of the tapestries widened to fill in the end of the Dauphine’s bedroom,22 which has probably deprived us of very original compositions, because de Troy had already illustrated the most famous themes, those that benefitted from a strongly established iconographical tradition and from which it was not easy to deviate The Tapestry Set of the Story of Esther Placed on the tapestry looms of the Gobelins at the end of the 1730s in Michel Audran’s workshop, the cycle created by de Troy aroused true infatuation. The few hundred tapestries made between 1738 and 1797 – all in high-warp tapestry and woven in wool and silk except for four in low-warp made in Neilson’s workshop – show the impressive success of a tapestry set that was without any doubt the most frequently woven of the 18th century in France. 29 Only three cartoons had been delivered by de Troy in 1738 when the first tapestry set was begun by Audran under the expert eye of Jean-Baptiste Oudry to whom the Directeur général des bâtiments, Philibert Orry had assigned the (weekly) supervision of the weaving. During the summer of 1738, the piece of the Fainting of Esther, which Oudry judged to be admirable, was finished. During the winter of 1742, Oudry informed Orry that about two ells of the Triumph of Mor’decai had been made “with no faults”,that the Coronation of Esther was finished and that the Esther at her Toilet “a very gracious tapestry” was “a little over half” finished. Exhibited at Versailles in 1743, these two last pieces were admired by Louis XV and the Court. On 3 December 1744, the set of seven tapestries was finally delivered to the Garde Meuble. It was intended, the honour was not slight, to decorate the apartments of the Infanta Maria Teresa Rafaela of Spain whose marriage to the young Dauphin Louis-Ferdinand had been fixed for the following year (it took place on 23 February 1745). Apparently it was thought that the theme of Esther the biblical heroine and wife of a foreign sovereign was appropriate for the apartments of the Spanish Dauphine. As early as the month of March, the architect Ange-Jacques Gabriel informed de Troy that her grand cabinet was decorated with the “Esther tapestry set” specifying however that “for lack of two small or one large piece, we have not been able to decorate the end of the room”. This difficulty led immediately to the Banquet episode being woven a second time in two parts (they were delivered to the Garde-Meuble on 30 December 1746) to garnish the panels on each side of the bed of the Dauphine who would hardly enjoy them (she died on 22 July 1746 and the decoration was installed for the new Dauphine Maria Josepha of Saxony). The appearance of the set’s remarkable border, which imitated a richly sculpted wooden frame, should be mentioned. Conceived in 1738 by the ornamentalist Pierre Josse-Perrot and used in the later weavings until 1768, it tended to reinforce the resolutely painterly appearance of the tapestry set which, in this regard, pushed the art of tapestry as far as its ultimate mimetic possibilities. With the exception of Mor’decai's Disdain which had been removed earlier, the “editio princeps” of the story of Esther (from then on in nine pieces) remained at Versailles until the Revolution. Of the eight surviving tapestries, four are at the chateau of Compiègne and four belong today to the Mobilier National. No less than seven tapestry sets reputed to be complete (one of them in fact only had six tapestries) would be produced officially at the Gobelins up to 1772. Literature: 1- The Œuvres mêlées of an emulator of Racine, the Abbé Augustin NADAL thus include an Esther. Divertissement spiritual which is exactly contemporary with Jean François de Troy’s cycle since it was performed in 1735 and published in Paris three years later. 2-Le Siècle de Louis XIV, 1751, 1785 ed., p. 96-97 for French ed. 3- Lemoyne and de Troy had been obliged to share the First Prize in the competition organised in 1727 between the most prominent history painters of the Académie Royale. 4- Mémoires…, pub. L. DUSSIEUX et al., 1854, II, p.265. 5-The fact that de Troy, at the risk of falling out with his colleagues, did not hesitate to make use of prices in order to convince the new directeur des Bâtiments Philibert Orry, is confirmed by Mariette who adds tersely “it caused much shouting” (pub. 1851-1860, II, p. 103). 6- Abrégé de la vie des plus fameux peintres…, ed. 1762, IV, p. 368-369 20 Early comments on the painter are inclined to present him as a kind of “pure painter”, doing without the medium of drawing, a few intermediary studies between the Esther sketches and the large cartoons at the Louvre nevertheless show that de Troy used red chalk (see in the catalogue, the notice for the Meal of Esther and Ahasuerus under the entry drawing) to change one or other figure. 7-C. GASTINEL-COURAL (cat. exp. PARIS, 1985, p. 9-13) as well as the article by J. VITTET, exh. cat. LA ROCHE-GUYON, 2001, p. 51-55. 8-The Hermitage in St. Petersburg conserves five tapestries of these two royal gifts whose provenance still awaits elucidation (as far as we are aware). In 1766, the Grand Marshal of Russia, Count Razumovski (or Razamowski), acquired the Fainting and the Banquet extracted from the sixth weaving (J. VITTET, 2001, p. 53). 9- Lettres écrites de Suisse, d’Italie…,quoted by J. VITTET, op. cit., p. 54. 10-The tapestry set remained in the hands of a branch of the Hapsburg-Lorraine family until 1933 (ibid. P. 54). 11-Quoted by Chr. LERIBAULT, 2002, p. 97, note 269. 12-Y. CANTAREL-BESSON, 1992, p. 241. Catalogue The Esther at her Toilet Oil on canvas, 57 x 51 cm Provenance: Painted in 1736 at the same time as the six other modelli of the Story of Esther intended to be presented, for approval, to the direction des Bâtiments du Roi; perhaps identifiable among a lot of sketches by Jean-François de Troy in the post mortem inventory of the amateur, historian and critic Claude-Henri Watelet (1718-1786) drawn up on 13 January 1786 and following days (A.N. T 978, n° 30) then in the sale of the property of the deceased, Paris, 12 June 1786, n° 33; Paris, François Marcille Collection (who owned a series of six sketches from which the Triumph of Mor’decai was missing, see infra); Paris, Marcille Sale, Hôtel Drouot, 12-13 January 1857, n° 36; Asnières, Mme de Chavanne de Palmassy ( ?) collection; Paris, Galerie Cailleux; Paris, Humbert de Wendel collection (acquired from the Galerie Cailleux in 1928); by inheritance in the same family; Paris, Sotheby’s, 23 June 2011, n° 61. In order not to add unnecessarily to the technical commentary on each work, the catalogue raisonné by Chr. Leribault which contains a substantial bibliography on the series should be referred to. The other bibliographical references only concern the publications and exhibitions to have appeared and been presented more recently. Bibliography and Exhibitions: Chr. LERIBAULT, 2002, n° P. 247 (repr.); E. LIMARDO DATURI, 2004, p. 28; Exh. cat. NANTES, 2011, p. 138, n° 34, referred to in note 1; Sotheby’s catalogue, Tableaux anciens et du XIXe siècle, 23 June 2011, n° 61 (repr.). Related Works: Tapestry cartoon: The cartoon (oil on canvas, 329 x 320 cm), the third made by the artist in Paris after the sketches had been approved by the direction des Bâtiments, is in the Louvre (Inv. 8315). It previously bore the painter’s signature and the date 1738 (inscriptions which are found on the tapestries). The royal administration paid 1600 livres for it on 21 June 1738 and it was exhibited at the Salon in the year of its creation. Summary Biography 1679 (27 January): Baptism in Paris (Parish of St. Nicolas du Chardonnet) of Jean-François de Troy, son of the painter François de Troy and Jeanne Cotelle, sister of the painter Jean II Cotelle. 1696-1698: Studies (apparently rather turbulent) at the Académie royale de peinture et de sculpture. 1698-1708: First trip to Italy. Is obliged to leave Rome in January 1711 after a tempestuous affair (a duel?), de Troy extends the traditional Roman experience as a pensionnaire at the Académie de France by also visiting Tuscany where he stays for a long time, Venice (his art in face has a strongly Venetian character) and Genoa. 1708: De Troy (whose father had been elected Director of the Académie royale de peinture et de sculpture on 7 July) is agréé and immediately received at the Académie with Apollo and Diana Piercing with their Arrows the Children of Niobe (Montpellier, Musée Fabre) on 28 July. 1710: First royal commission, paid for on 10 May (a sketch representing “the Promotion of the Order of the Holy Spirit” for the tapestry series of the History of the King). 1716: Jean-François de Troy is elected Assistant Professor at the Academy. 1720: He is appointed Professor. 1723: The artist creates the double portrait of Louis XV...

Fine 18th century Danish late Baroque secretaire in its original finish with three drawers in the bottom half. The desk compartment features four drawers ...

1870 original religious painting. Cherubs Signed by S.Barber Interior measurements: 48.42in x 39.76in Frame: 2.75 in.

Place this elegant antique coffer at the foot of a king size bed. Crafted in Spain, circa 1800, the rectangular trunk stands on bracket feet. Heavily carved on all three sides with a...

Great pair of small carved wooden candleholders with traces of beautiful silver leaf gilding. Italy, circa 1750 Weathered and small losses and old repairs. Measurements are individu...

An impressive piece recently purchased from a local family that had it for many years and had inherited it from their grandparents. With rectangular top decorated with trailing flowe...

Housing one big light in center. Will be newly re-wired with certified UL US sockets for the United States and appropriate sockets for other countries and ready to hang. Gold gilt wo...

18th Italian wardrobe in solid alder with two doors, internal color in original patina. The exterior is hand painted with period decorations. This is...

A Spanish Baroque style gilt mirror. This beveled-edge antiqued mirror center is set in a frame of consecutive octagonal coffered mirrored plates. The ...