Louis XVI Furniture

A spectacular and most elegant pair of French 19th century Louis XVI st. Baccarat Crystal and Ormolu lamps. Each most stunning Crystal lamp is raised by a mottled square Ormolu base ...

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...

A magnificent french louis XVI style ormolu 9 light figural embellished with neoclassical figures of ladies. This beautiful ormolu chandelier has marvelously cast and hand ciseled wi...

Antique French Louis XVI Mahogany and ormolu longcase clock, circa 1890.

Four Monumental 20th Century Mid-Century French Baccarat Crystal Multi-Arm Girandoles on Faux Marble Hand-Painted Pedestals, attributed to Maison Jansen. Each girandole consists of ...

A stunning and extremely high quality French 19th century Louis XVI st. Belle Époque period Rouge Griotte marble and ormolu centerpiece attributed to François Linke. The centerpiece ...

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 Incredible and Spectacular 19th Century French Louis XVI Style Dore Bronze Mounted Mirrored Malachite Dresser with Candelabra arms. The malachite...

A pair of fine antique French Louis XVI style ebony and gilt decorated hand-carved wood marble top demilune shaped console tables embellished with eagles in the centre.

This pair of solid oak armchairs is all delicately hand carved with shaped crests adorned with foliate motif, above double splats of urn form, flanked by downturned fluted arms conti...

21st century equipped pedestal with a small table in burnished bronze and the part of porcelain with platinum decorations. this pedestal has ...

18th Century Italian Console Table with Gold Leaf & Faux Marble Top Gorgeous piece purchased in France. Age appropriate wear, see detailed photos. Message us with any questions.

This small vintage fireplace surround in white statuary marble is a very unique piece. This mantel would perfectly fit in American colonial sty...

A beautiful silver-plated wine cooler, made by the French brand Christofle. The model's name is Sully. The wine cooler is in very good condition. Beautiful color and brilliance. ...

A French Louis XVI style fireplace in Carrara marble. The moulded jambs with acanthus leaves and scrolled returns, the frieze with carved oval paterae, moulded panels and square pate...

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...

A spectacular and grand scale French mid 19th century Louis XVI style flamed mahogany and ormolu mounted Commode de Chateau after a model by Guillaume Beneman, Joseph Stöckel and att...

This quality pair of chairs appear to be in the manner of Maison Jansen. The openwork splats appear to be in the form of a hot air balloon, over a rounded seat supported by an apron ...

A handsome and most decorative French 19th century Louis XVI st. Mahogany, Ormolu, Japanese Lacquer and marble buffet. This elegant cabinet is raised on four circular tapered, and fl...

19th Century French Louis XVI Fruitwood Marble Top Commode is a highly unusual iteration of the form, blending the luxurious naturalism of Carrara marble with the luster of cast & bu...

We believe this is a Late 19th, or Early 20th C gilt wood salon chair in as found condition. This elegantly carved wood arm chair is structurally sound...

Signed on the dial A. Beurdeley Paris Mechanism signed J LEFEBVRE FILS PARIS Rare Louis XVI style clock in mercury-gilded and patinated chiseled bronze and white marble. In the form of an arched pediment, it is decorated with four Cupids, two carrying a garland of flowers highlighting the dial, and two others symbolizing the coronation of Science. The molded base in white marble, with a double recess, is decorated with a ribboned torus, a frieze of ribboned oak leaves and interlacing, and rests on six flattened ball feet. Related work : In 1774, the bronze-caster Robert Osmond (1711-1789) designed a first model known as “architectural drawing” illustrating The Coronation of Science. Also called The Children of France, it is decorated with a putti crowning a young girl drawing with a compass and delivered to Versailles by Lépine, clockmaker to the King since 1762, for the apartment of Madame Royale in the Princes’ Wing, on December 28, 1778. (see photo attached) This clock is described in the inventory of Versailles clocks...

The Neoclassical style often has an opulent look that is balanced with clean shapes and classical details. It pays homage to the Greek and Roman culture and was a defining style of t...

Rug #: 20319 Tapestry, Gobelins Factory, France 9’0” x 6’4” (2.77 m x 1.92 m) Circa mid-18th century “The Air” or “Aurora & Cephalus”, from a set of The Four Elements From a design of Francois Boucher Structure: Slit tapestry weave. Warp: linen, natural, beige, Z-2-S, 25/in Weft: silk, Z-2, 90 wefts/in², or Wool, Z-2-S, plain tan edge and various small details No marks of origin Subject: This panel is the first of a series of four depicting classical allegories of The Elements (Air, Earth, Water, Fire). Francois Boucher created the original paintings around 1770 and the first edition of the set was woven between 1772 and 1776. “Air” was the first woven and was 3.0m x 1.85m, a taller and narrower format than our example. The figures are: male, Cephalus, dressed as a hunter; female, Aurora; and Cupid (Eros), all within a tall, airy pavilion supported by four thin colonettes and topped by a garlanded baldachin. The figures rest on a garden seat and there are trees and flowers in the background. A dog chases some birds in the foreground. In the other tapestries in the series, there are similar male/female pairings (Vertumnus and Pomona for Earth, Neptune and Amymone for Water, and Venus and Vulcan for fire). Remarks: 1. The series was copied several times between 1894 and 1897 from the original cartoons...

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 gi...

Antique French Louis XVI gold bronze fire screen, circa 1890.

A superb and richly detailed Large 19th century French green cut crystal and gilt bronze box in the refined Louis XVI style. This exceptional piece is crafted from vibrant emerald gr...

Pair of 19th century Italian Louis XV-XVI Style Painted Marquise. Marquises are oversized bergeres, chairs or loveseats/ This stunning pair of ...

A handsome and high quality French 19th century Louis XVI st. Ormolu and black Belgian marble centerpiece, signed F. Barbedienne. This stunning centerpiece/tazza is raised on a circu...

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...

The 19th Century Louis XVI French Carved Painted Commode is a stunning piece of furniture that exudes elegance and sophistication. The commode features intricate carvings and a paint...

Decorate a dining table with this elegant antique "Surtout de Table". Crafted in France circa 1860, and rectangular in shape with rounded ends, the large tray stands on four small ho...

This exquisite set of two French 19th-century hanging picture frames exudes timeless elegance and charm. Crafted from gilt bronze, each frame is...

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

Late 18th-Early 19th Century French Louis XVI Corner Bench. This rare French painted and parcel gilt corner bench has beautifully carved fluted ...

An elegant and most decorative Italian 19th century Louis XVI st. Kingwood, Tulipwood, Ormolu and Sienna marble commode. This stunning three drawer chest is raised on four square tap...

A fine quality pair of 19th century French Louis XVI style Sèvres style lidded vases, each with turquoise ground, floral decoration and of twisted form. Wonderful scrolling gilded or...

Antique French pair of candlesticks, beautiful finely chiseled ormolu (solid bronze gilt with fine gold) Louis XVI style pattern. Our model is richly ornamented with pearls and acant...

Enhance a study, office, or elegant corner with this exquisite antique corner bergère. Handcrafted in France circa 1920, this unique wing back chair is designed in the Louis XVI styl...

Step into the lavish embrace of the Concorde canopy bed—an homage to the opulent grandeur of the Louis XVI style. This regal masterpiece boasts a structural symphony of four columns,...

Antique Louis XVI Style Gilt Bronze & Mahogany Vitrine Display Cabinet

Presenting a gorgeous French 19th century Samson Paris Porcelain Trinket Box probably by Edme Samson. Marked on the base with “Made in France” and unmistakably in the style and manner of Samson. The lid features hand painted floral bouquets on an ivory porcelain background with gold edging, surrounded by a sky blue lid with gold web or crackling effect.. The lid is hinged and the lid and base are edged in floral gilt metal mounts with Fleur De Lis clasp. It sits on 4 gilt metal or ormolu feet. The sides are likewise hand decorated. This wonderful antique hand painted box is just bursting with History. Inspired by Edme Samson of Samson & Co., Paris. we believe (based upon the markings and natural aging) that it was made between 1880– 1890 in France and was meant to resemble an antique of a much earlier period. It is very similar to Sevres pieces with it’s color, decoration and design. Samson specialized in reproducing antiques from the 1600 and 1700s. One of his most interesting works was his Heraldic or Armorial pieces. With this medium sized box, he was not only copying the larger porcelain caskets or coffin boxes...

18th Century Portrait of a Nobleman. Beautiful painting purchased in France. Age appropriate wear, see detailed photos or message us with any questions. Inner Frame Dimensions: Hei...

A charming pair of late-19th-century Louis XVI-style accent chairs, sourced from Provence, France. Each features a hand-crafted maple frame with a square back, hand-painted in creamy...

French Louis XV-XVI transitional period commode with lovely marquetry in satinwood, rosewood and tulipwood, Gris Sainte Anne marble top and three drawers. The commode features a cent...

A late Louis XVI marble and ormolu portico clock, comprising a central drum-shaped clock with a sunburst pendulum, surmounted by the gilded figure of Athena wearing armour with a plu...

Exquisite French 19th Century Louis XVI elegant and comfortable finely carved walnut armchair bergere chair with new high end British upholstery. Will add a touch of class and sophis...

These are classic chairs and are in good condition. The chairs have normal signs of wear and use. They have nice older upholstery and may have signs of use including minor staining n...

French antique semainier in the Louis XVI style. This piece is made of solid wood construction, primarily mahogany that has been fully ebonized and finished with a lustrous French po...

Beautiful three-drawer chest of drawers in rosewood and amaranth veneer, topped with Brocatelle marble. The first of these drawers, in the upper section, features a raised front, inl...

Antique French dressing table with a bronze trimmed hinged turtle top lid with mirror on verso. The table with intricate and fine marque...

A most elegant pair of French 19th century Louis XVI st. ormolu, faux painted Porphyry and Bleu Turquin marble lamps. Each lamp is raised by a wonderfully executed triangular shaped ...

Rectangular newly upholstered seat with circular tapered carved legs.

Louis XVI Style Walnut Armoire From Paris with well upholstered interior. Circa 1780. Fabulous Patina and deep rich color. Dimensions: W: 57″ D: 24″ T: 97″

This is a fine pair of creme painted and yellow painted trim Louis XVI style sidechairs. They are perfect for the corner of a room or an entryway. They are in good condition with bea...

Charming vintage French console table, Louis XVI style, with lovely groovework in the tapered legs. There are two drawers, with charming r...

A charming and most elegant pair of French 19th century Louis XVI st. white Carrara marble and ormolu two arm candelabras. Each candelabra is raised by fine topie shaped feet below t...

This unique louis XVI Style buffet is made of the best quality Flame mahogany and has a very white clean marble on the Top . It has four doors that open to sturdy shelves. It has two...

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...

Pair of antique Louis XVI style green marble and gilt bronze vases French, Late 19th Century Height 50cm, width 24cm, depth 18cm A superb example of late 19th century French decora...