Louis XVI Furniture

This is a pair of ebonized side tables with gilt accents. They have a modern interpretation of Louis XV styling. Each table has a single drawer. They are unmarked.

Gilt bronze and Sèvres style porcelain Louis XVI style casket on stand This magnificent Louis XVI style ormolu casket is supported by a mirror-topped table stand, which sits on four tapered, fluted legs connected by a curving X-form stretcher. In the centre of this stretcher is an ormolu urn decorated with rams heads, four hoof feet and birds on the top. The legs of the table are also ornately decorated with draped garlands and scrolled detailing. The apron is inset with Sèvres style porcelain plaques depicting scenes of cherubs and children in landscapes as well as decorative floral detailing, and is surmounted with laurel leaf mounts. The casket itself is of oval architectural form, and is set on fourteen small feet. It features further porcelain plaques depicting cherubs, musical instruments and a central oval portrait of Queen Marie Antoinette within a crowned gilt cartouche. Her portrait is flanked by two cherubs and is sat within a decorative royal blue border, matching the turquoise colored borders of the other plaques. The reverse of the casket is similarly decorated and features a painted plaque of her husband King Louis XVI. The plaques are separated by mounted ormolu columns decorated with crowns and draped laurel leaves, and each column is surmounted by floral crowns. Each curved side of the casket features an ormolu mask of a female figure, and the hinged lid is surmounted by two reclining female figures wearing draped dresses and holding a central crown. The casket opens at the lid to reveal a velvet interior. There is an inscription below the portrait of Marie Antoinette which spuriously reads ‘This casket formerly property of Marie Antoinette, presented to my beloved wife as souvenir of our European tour / Sept 8th 1886 / Louis L...

A pair of Louis XVI style, chiseled and gilt bronze three-armed antique wall sconces, of Italian origin, dating back to the late 19th century. Original and beautiful bronze casting ...

Early 20th Century French Louis XVI Style Oak Marble Top End Table Nightstands Dimensions : 18.5" Wide X 14" Deep X 28" Tall This bea...

Exquisite French mahogany bench seat or diminutive settee crafted in the style of a small daybed. The hand-carved frame features an arched head and f...

French Louis XVI style cream and gilt painted wood armchair custom upholstered in a fabulous Geoffrey Beene inspired striped fabric by Schumacher. This round back chair features beau...

Pair of 18th century French Louis XVI carved wood column pedestals. This gorgeous pair of carved wood with gesso Neoclassical style fluted columns or pedestals are great stand alone ...

A stunning Louis XVI Neoclassical style wall-mounted console table France, Circa early 20th century Carved gilt wood, with foliate swags and hooved feet, and pink, gray , & white m...

Louis XVI style pair of marquetry nightstands with metal crest one-drawer and one compartment. Originals handles and garniture. Measures: Total heigh...

An Important French Mahogany and Gilt Bronze Commode in the Louis XVI Style by Henry Dasson (1825-1896) after the design in 1788 for the Kings Cabinet at Saint-Cloud by ebeniste Adam...

Louis XVI fireplace in gray Ardennes marble, Restored shelf : see pictures Dimensions of the hearth: 96.5 x 140 cm

Rare Louis XVI style notary writing desk made of mahogany frieze marquetry and light wood and rosewood fillet friezes. Four solid mahogany fluted legs joined by a spacer shelf. Fre...

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...

This Louis XVI walnut slant-front secretary desk is a fine example of 18th-century French craftsmanship and sophistication, ideal for collectors and interior enthusiasts seeking time...

This is a superb parlor or salon set from a famous (though we can't say who) philanthropist from Manhattan. The set features gorgeous tapestry upholstery which we believe is Aubusson...

Pair of Louis XVI style cassolettes, in green marble with rich gilded bronze ornamentation: rams' heads, flower garlands Good general condition, regilded bronzes, old restorations a...

A spectacular French mid-19th century Louis XVI style mahogany and marble center table. The rectangular frame is crowned with a slab of Calacatta type marble in ethereal veining of g...

Late 18th century, Louis XVI Trumeau. The mirror is no the original, the painting representing a children scene needs a restoration Good condition. For shipping: 5 x 165 x 74 c...

This extraordinary and finely carved and gilt -wood 6 piece suite comprising of one sofa, four armchairs and two single chairs with original gilding. Upholstery is in very good condi...

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...

Chest embodies the refined elegance of 18th-century French design through its masterful use of book-matched burl veneers and delicate inlays. Each drawer front showcases symmetricall...

A French Louis XVI period sofa from circa 1790 with antique beige painted finish, oval back, carved foliage and fluted legs. Indulge in the romance of bygone eras with this exquisite...

A mahogany and brass mounted bureau plat desk, with a leather inset writing surface and three frieze drawers, on turned legs French. The original Lou...

This nice mortar is made of white marble. This is a French work from 18th Century

Elevate your living space with this Very Large Trumeau Overmantel or Pier Mirror, a stunning piece of decor designed in the French Louis XV style. This mirror is not just a reflectiv...

A Very Fine French 19th Century Louis XVI-Louis XVI Transition Style Ormolu-Mounted Mahogany, Birdseye Maple, Fruitwood and Sycamore Marquetry and Parquetry Commode with a Brèche d'Alep Marble-Top, after the model by Jean-Henri Riesener (1734-1806). Circa: 1870-1880. The finely detailed commode with rounded sides, finely chased ormolu mounts with their original mercury gilt, a single center apron drawer with wreath ormolu pulls and an acanthus plate...

In the French taste with shaped circular top with inset thick glass with bronze reeded border. The square tapered fluted legs headed by a rosette and a laurel swag. Signed by maker u...

The apron being trimmed in bronze moldings above a single drawer all supported by slender turned legs. This is a very hard size to find and, not only works as a desk, but it would al...

Antique early 19C Old Paris Porcelain Inkwell Additional information: Materials: Porcelain Color: Gold Brand: Old Paris Designer: Old Paris Period: ...

Monumental Louis XVI black marble mantle in excellent condition. A true masterpiece. The carving is of such a high quality showing the true art of ...

Small giltwood Louis XVI style mirror with its original mirror glass France, circa 1760-1850 Weathered, small ,losses and old repairs.

21st century hand carved clear crystal and golden bronze table lamp. This table lamp is finely chiseled lost wax castings and hand-grounded gl...

An imposing Napoleon III center table (or 'Table de Milieu') in ebonized fruit wood, rectangular in shape, with rounded sides. Its ornate top, which is bordered all around with a gilt bronze frieze and two further inner bands, features at its centre an intricate marquetry inlaid design of a foliage cartouche framing a vase of flowers. The smoothly curving belt of the table encloses a frieze drawer on one long side, with a repeat, inlaid design that echoes that of the top. The table rests on four turned, tapered and fluted legs, ending in toupie feet, and these are connected by two half-moon spacers...

Rectangular tray by Gianmaria Buccellati. The tray was made entirely by hand, starting from a sheet of sterling silver and hammered. The corners of the tray are rounded. A striped an...

A stunning antique Louis XVI style bedside cabinet with outstanding patina. Hand crafted in France during the late 19th / early 20th century, having a marble-top on a parquetry and s...

A French Louis XVI style silvered metal jardinière and matching plateau.

This exquisite pair of French communication doors from the late 18th century, circa 1790, showcase the refined craftsmanship typical of the period. The doors are made from rich, dark...

This is a beautiful antique French mahogany inlaid Ladies writing desk made circa 1890. The fall front opens to reveal an interior of leather writing surface, and bank of three drawe...

Meuble en bois de rose style Louis XVI recouvert d'une plaque de marbre et des finitions en bronze sculptées. Adapté en meuble pour recevoir une télévision ainsi que pour la hi-fi...

each neoclassical open armchair with beaded framed oval back above a bowed tight seat over a beaded apron flanked by scrolled arms and uprights with acanthus carving; raised on reede...

French silver plated bronze vanity mirror richly decorated in Louis XVI style. Circa 1880.

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...

This classic blue opaline cut crystal box catches the light in such a way as to make it seem as if it’s glowing from within. Note the lean cut and smooth edges of its crystal facets....

Louis XVI chest of drawers hand-made in France in the mid 1800s using walnut for both the case as well as the veneer. This chest of drawers was originally built and used as vestments...

Wonderful 19th century French Louis XVI style settee. Inspired by French forms of the baroque period, the settee has beautifully carved wood detail throughout. The carved leaf and...

A Very Fine French 19th Century Louis XVI style ormolu-mounted amaranth, tulipwood, sycamore and parquetry pedestal "Régulateur de Parquet" Clock, after the model attributed to Jean-...

An imposing 19th century Louis XVI-style solid wooden pillar, perfect for displaying small sculptural works or even architectural houseplants. Sitting on a substantial, square-shaped...

This elegant fruitwood desk was created in France, circa 1920. Made of blond walnut timber, the large writing table sits on four legs The front has a wide opening with plenty of kne...

A Magnificent 1930s French Parisian Daybed by Maison Gouffé in Grand Louis XVI Style. Sourced from Paris, this exquisite daybed epitomizes the elegance of the Grand Louis XVI style. ...

Elegant pair of 19th century French settees/banquette in Louis XVI style. The painted frames richly carved; the top gracefully curved, the seat rails and the fluted legs with florets...

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 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...

Faux marble top. Painted. Gilt. 34" h x 72" w x 20 1/2" d. Condition Scratches. Minor paint loss.

A Fabulous and Large 19th Century Russian Ormolu-Mounted Hand-Carved Pink Rhodonite Tazza/Centerpiece. This tazza is a masterpiece of opulence that e...

This original fireplace surround in French Burgundy Rose liseron hardstone, sometimes called French burgundy marble since a lot of historical landmarks carry this kind of hard stone. Used by Belgian interior decorator Gert Voorjans...

A stunning and most elegant Italian 19th century Louis XVI st. Alabaster urn/centerpiece. This wonderful urn is raised by a square Alabaster base supporting a circular socle decorate...

A French Louis XVI period painted and hand carved wooden boiseries panel from the late 18th century, with monogram, swag and fruit motifs. Born in France during the second half of the 18th century, this exquisite painted boiseries features a central monogram set inside an oval medallion, accented with a swag adorned with delicate fruits in its extremities. Ribbon-tied at the top, the carved panel charms us with its perfectly harmonious décor and soft color, framed with rais-de cœur motifs. Hung anywhere in a room, perhaps above a chest-of-drawers, side table or credenza, this Louis XVI 18th century painted...

This is a fantastic pair of French-made Louis XVI style armchairs. The chairs are painted in a beautiful off-white hue with nice upholstery. The chairs are graceful, and have a light...