Louis XVI Furniture

Pair of antique (late 19th century) French porcelain vases in the Louis XVI period style, with lovely Chinese egg shell blue glaze and finely cast neoclas...

Two 19th Century, Brown/Red “tinta Negra” gilt decorated lacquer panels mounted on a gilt-bronze frame. Frame tightened panels touched up & waxed

French Louis XVI style (1940s) mahogany and gilt bronze trimmed chest with 3 drawers having ring handles and a marble top. (stamped: JANSEN)

A Pair of highly important and large Magnificent Antique French Louis XVI style figural gilt bronze mounted hand carved rouge marble multi arm candelabras of exquisite craftsmanship ...

Magnificent Pair of Ormolu-Mounted Pink Chinese Porcelain Vases – A Fusion of East and West This fabulous and large pair of 19th-century Louis XVI style ormolu-mounted Chinese porcelain covered vases / jars is a stunning testament to the opulence and artistry of the era. The exquisite pink ground porcelain, an export creation from late 19th-century China, features vivid hand-painted enamel decorations depicting majestic Chinese roosters...

A Highly Important, Monumental, and Rare Pair of 19th Century French Signed Baccarat Opaline Double Overlay Cobalt Blue Cut-To-White Opaline Vases with Hand-Enameled Floral Designs, ...

A Very Large and Rare German Ormolu Mounted Meissen Porcelain Three Piece Clock & Candelabra Garniture Set. This impressive set consists of three pieces: a center clock and two candelabras, each adorned with the most intricate and delicate details that have been executed to perfection. Each three armed candelabra is remarkably elaborate with foliate arms that are embellished with gilt-covered beautifully twisted branches and curling leaves on an ornate botanically-inspired base. Embraced by the arms of the candelabras are two 18th Century Meissen Porcelain figures of musical lovers, dressed in brightly detailed traditional clothes. The round clock face, with roman numerals, a white base, and ornate hands is surrounded by a flourish of gorgeous gilt foliage, exuding an air of elegance and refinement. Perched atop the clock is a stunning Meissen Porcelain figurine of a beautiful woman posed in mid-movement, her dress aflutter, and baring her leg as she gazes up at her left hand which is holding a bunch of grapes, while also grasping a wine goblet in her lowered right hand, representing the festivities of the moment. Surrounding the clock and extending down both sides the gilt foliate leads the eye to two cherubs each admiring tiny vases of exquisitely detailed flowers. Below the cherubs, on either side, are four white ceramic pillars...

A Pair of Exquisite Antique French Sevres style cobalt porcelain gilt bronze mounted covered urns. Each unique covered vase is hand painted and g...

Beautiful Italian Louis XVI style painted wooden frame and hand decorated floral design bench with silk damask blend upholstered seat from the mid century. This bench features hand c...

An exquisite early 20th-century French full-size bed frame in the Louis XVI style, sourced directly from Provence, France. Handcrafted from solid mahogany, this piece embodies Europe...

French Louis XVI (18/19th Cent) portrait oil painting of young woman wearing a blue dress holding a pink ribbon with flowers in her hair in a gold carved frame (style of NATTIER)

Meissen Porcelain, Love Series: Cupid Mailing a Love Letter with Love Bird C1870, SUPREME A Meissen porcelain figure from the Love Series: Cupid Mailing...

This exquisite 18th-century French barometer, crafted in 1778 by Charles Desnioulin (Signed), is a true masterpiece of both science and art. The finely carved wood frame, adorned wi...

Pair of ebonized French marble-top petite commodes with brass gallery and pull-out drawers.

A Magnificent and Quite Large 19th Century French Ormolu Mounted Multi-Arm Baccarat Crystal Chandelier, with Fleur de Lis Crystal Prisms. The ormolu body is cast of the highest quality of mercury gilt bronze. The arms are spectacular and split up between multiple tiers. The central stem is made up of a thick ormolu pole which is decorated with Baccarat crystal hand-diamond cut stepped sections. Attached to the stem are the numerous ormolu arms which terminated to hand-chased and hand-chiseled ormolu bobeche's; inside each bobeche is a hand-diamond cut crystal candle holder which is similar to a lily flower. These crystals are each hand-diamond cut with a crystal prismic pattern. Hanging off each arm is an array of hand-diamond cut crystal prisms, each with a variable crystal style form and each hand-beveled. At the top of each prism is a cut-crystal flower, which beautifully completes the gorgeous arms. In the center of each bi-armed section is a small ormolu step which holds a cut-crystal beveled sphere and incredible and rare, cut-crystal, beveled Fleur de Lis. This symbol is highly important and symbolic to the Royal family of France for hundreds of years. Chandeliers of this size, quality, condition, and inclusive of Fleur de Lis are highly prized and rarely found in the market as Fleur de Lis based items were usually produced with noble reason. France, Circa: 1880 Baccarat is a French luxury crystal company that manufactures and sells high-end products. Founded in 1764 by artisans in Lorraine with the permission of King Louis XV, Baccarat is known for its craftsmanship, quality, and innovation. The company's products include lighting, tableware, decorative objects, fine jewelry, and custom flacons, and are designed to symbolize French artifacts...

Finely cast French patinated and gilt jardiniere or centerpiece bowl in the Louis XVI style after the original model by Mathurin Moreau (1822-1912), depicting Cupid with his bow and ...

Pair of elegant French Louis XVI style bergeres having carved wood frames and new striped silk moire upholstery. Arm 24” H

Discovered in the South of France, these dressy 19th-century fauteuils have the oval backs, scrolled handrests and straight legs associated with Louis XVI pieces. Newly upholstered i...

Set of 6 of French Louis XVI style (20th Cent) light green painted side chairs with light blue upholstered seat and back.

A very large and unusual 19th century French Louis XVI style dore bronze mounted Sevres cobalt blue ground box signed Sarat. This box is truly a masterpiece. Sevres boxes...

A Spectacular Large antique 19th century French Louis XVI Style ormolu bronze mounted hand carved white carrara marble fireplace mantel of exquisite craftsmanship. The rectangular wh...

The top surmounted by four scrolling volutes. Elegant form and substantial size.

An exquisite set of six early 20th-century French dining chairs in the Louis XVI style, sourced from Provence, France. Each chair features a hand-molded, oval-shaped medallion back f...

French circa 1780 Louis XVI Bergère à la Reine having painted carved wood frame with allover bellflower motifs on arms, rails, and stiles; the recta...

A Fantastic 19th century French Louis XVI Style Dore Bronze Mounted Blue Opaline Crystal Box. The box is composed of two sections of French opaline crystal which are mounted to a fab...

Pair of French Louis XVI-style (19th/20th Cent) grey painted Armchairs with oval back in pale green silk upholstery. Please note one chair is missing cushion, upholstery is in poor...

French Louis XVI-style (19th Century) mahogany oval dining table with bronze trim on a double scroll stretcher and legs with banded inlaid o...

An exquisite pair of early 20th-century accent side chairs in the Louis XVI style, sourced from Provence, France. Each chair features a hand-crafted maple frame with a square back an...

A Pair of Early 19th Century English Ormolu Mounted Hand-Diamond Cut Crystal Two-Arm Candelabra. Each candelabra features finely hand-diamond cut crystal elements mounted with ormolu...

An Incredible and Large Gilt and Patinated Bronze Group of Gloria Victis, a Winged Figure of Victory with a Fallen Warrior. This incredible bronze piece was cast after a model by Maarius-Jean-Antonin Mercié, This model is signed 'F. BARBEDIENNE FONDEUR PARIS' demonstrating that it was cast by Ferdinand Barbedienne's foundry, the best bronzier of the 19th century. The base is further signed 'A. Mercie' and stamped 'Réduction Mécanique' with an inscription of '659'. The figure is mounted on a Belgian noir marble base with various stepped edges. Gloria Victis is one the most well-known and important bronze casts of the 19th Century. The quality of this particular model is absolutely incredible and all the marking indicate that this particular piece is one of the finest produced by the Foundry. A student of Jouffroy and de Falguière at the Ecole des Beaux-Arts, Marius-Jean-Antonin Mercié (1845-1916) won the Grand Prix de Rome at 23 years old with his work Thésée vainqueur du Minotaure. In 1872, he sent the plaster model of his work David vainqueur to the Salon, for which he won the first class medal. At the same time, he received La croix de la Légion d'honneur at the Villa Medici. His return to Paris, in 1874, issued in a long and brilliant career with numerous commissions, notably the monuments for Louis-Philippe and Queen Marie-Amélie for the Royal Chapel at Dreux (1886). By the age of 30 Mercié was already very well-known and his Gloria Victis received resounding success when it was exhibited at the Salon, in 1874 (in plaster) and in 1875 (in bronze). This work exalted the heroism and the patriotic sentiments aroused by the disasters of 1870. His predilection for patriotic subjects is shown in many of his works such as Quand même...

A pair of spectacular and large antique French Louis XVI style cut crystal, hand engraved gilt decorated crystal and gilt bronze multi light candelabras of exceptional detail embelli...

A Highly Important and Very Rare Pair of 19th Century English Mintons Olive Green Ground Pâte-Sur-Pâte Porcelain Covered Moon-Flask Form Vases, Signed by Louis Solon. These Mintons p...

A French dore bronze mounted blue opalescent and dore bronze finial covered box. This round form box is very unusual with a blue opalescent color and dore bronze mount. The top is fi...

A handsome and unusually small Louis XVI chest in mahogany offering four drawers with bowed front, and featuring a fluted tambour molding on the top drawer resting under characterist...

A Pair of French Hand-Cut White Opaline Crystal Pedestal Vases from the 2nd half of 1800s, Attributed to Baccarat. With their translucent porcelain-like appearance these vases consi...

This monumental 19th-century French mantel clock, crafted in the lavish Louis XIV style, is a commanding expression of regal elegance and technical refinement. Towering in presence, ...

A magnificent museum quality French 19th century hand-diamond cut crystal and ormolu-mounted Baccarat centerpiece/surtout de table in the Louis XVI style. This is truly an exemplary ...

A Louis XVI style 'Boudoir' chair.

A Large and Quite Rare Pair of French Louis XVI Period Patinated and Dore Bronze Figural Four-Light Candelabra with Ormolu-Mounted Rouge Marble Bases. Each candelabra features finel...

A Large French Louis XVI Style Gilt, Silvered, Cut Rock crystal and crystal multi light triple tier chandelier of exquisite detail in the manner of Maison Bagues. This unusual large ...

A very fine and monumental pair of antique French Louis XVI doré bronze and white carrara marble covered vases with ram’s heads and serpentine handles, attributed to Henry Dasson. Th...

A monumental and rare pair of 19th century French dore bronze mounted Sèvres Celeste blue porcelain cachepots. These cache pots are extremely rare to fi...

An Elaborate 19th century Meissen Porcelain Figure of a Sultana Riding an Elephant. After the model by P.J. Reinicke and J.J. Kändler, the Sultana sitting on the elephants back and h...

An impressive and very unusual Antique French Louis XVI style figural mantel clock composed of gilt bronze, white marble, rouge marble and dark green marble signed on the enamel dial...

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...

Louis XVI Black Matte Painted Dresser / Cabinet, Refinished, Brass Pulls   Ebony painted dresser or sideboard in the Louise XVI style having tight dove...

A Large & Important French 19th C. Louis XVI Style Sevres Porcelain Ormolu Mounted Jardiniere. This magnificent piece is of a baluster form wi...

A Pair of 18th Century Meissen Porcelain Marcolini Period Covered Tureens with 19th Century French Ormolu Mounts. These tureens show the combination of iconic French and German porc...

A fine pair of large antique French Louis XVI Sevres style cobalt blue porcelain and dore bronze mounted vases with wreaths, flowers, and ribb...

  Decorated with an elegant design of delicate blue cornflower sprigs, this soup tureen was made by Arras Porcelain in Arras, France, in the late 18th century. The cornflower sprigs, handles, and border edging are decorated with beautiful deep twilight blue enamel. The makers of Arras Porcelain specialized in porcelain painted in this entrancing blue called "Bleu d'Arras." The color of the porcelain body is creamy white. The combination of the creamy white ground and the blue decoration is splendid. Natural forms like the tree branch handle and the blue cornflower decorations were the height of French fashion in the last quarter of the 18th century. Made at the Arras porcelain factory of the Delemers family circa 1780, the tureen and its stand are marked in underglaze blue. Dimensions:16" wide x 13" deep x 9.5" tall Condition: Excellent, with some hard-to-see rubbing to the clear glaze on the stand Price: $1,520 The underside of the tureen is marked with the letters "AR" for the Delemers family Arras factory. The underside of the stand is marked "Dele AR" for the Delemers family Arras factory. On 1stdibs, we also have a matching round tureen Item Reference LU866530033982 Background of Arras Porcelain: The Arras Porcelain factory was started in the 1770s by the family Delemers. They were a family of four sisters...

An incredible and monumental pair of 19th century French Louis XVI style five-arm fore bronze sconces. Each sconce is of a monumental size. Most sconces of this era are between two a...

A rare and exquisitely painted pair of Paris porcelain vases, each signed by Narcisse Vivien, one of the most refined enamel decorators active in the Paris ateliers of the late 19th ...

Exceptional French Louis XVI Style Gilt-Bronze Mounted, Mahogany and Fruitwood Marquetry and Parquetry, Armorial Commode with original Marble Top, aft...

French Louis XVI-style (19/20th Century) horizontal giltwood wall mirror with four carved festoons and cornucopia floral design sides.

A simply stunning finely cast dore bronze chandelier. This diminutive chandelier has six lights and a continuous flow of swag and laurel bronze ...

Vintage French Louis XVI style walnut side stand with enclosed top over three drawer case with shaped apron, raised on cabriole legs with scroll feet, 20th C Measures- 27" H x 14.75...

A 19th century Meissen Porcelain Model Of Empress Catherine II Of Russia's Favorite Dog (Russisches Windspiel). This delightful 19th-century Meissen porcelain model depicts Empress C...

A late 19th century French gilt bronze and beaded crystals chandelier with 12 lights

This stunning 19th-century Louis XVI-style china cabinet, or vitrine, embodies elegance and sophistication. Featuring a distinctive demi-lune design shape, the cabinet boasts a luxur...

A marvelous 19th century English Dore bronze mounted crystal bowl centerpiece with dore bronze bird handles, signed on the bottom, Osler. The crystal bowl...