Revival Furniture

Speaking of antique masterpieces. This perfectly hand carved and large chandelier comes with a variety of marvelous details and six mask sculptures looking down from above. This bea...

A beautiful and sleek Italian wooden bench or settee of fine quality with excellent profile inlay decors, it is a great and elegant hallway sofa or entrance seating piece as well as ...

A charming French style console table that has been distress painted in white with accents of blue/green. The beautiful cabriole legs give this table such unique lines and style. A s...

Oak Cabinet in the Rococo Revival Style from the Early 20th Century This oak cabinet, dating back to Q1 of the 20th century, is made entirely of solid oak wood. The piece consists o...

Very fine English early to mid-19th century Gothic clock of important scale having carved and gilt pediment and polychrome decorated case with trefoil tr...

Stunning 1800's Antique Italian, Renaissance Revival Mirrored, Crest, Cornice, Jardinere! Antique Jardinere, Italian, Renaissance Revival Mirrored, Crest, Cornice, 1800s, 19th Cent...

this unique lantern, early 20th century but possibly earlier, retains its original beveled glass panels, the top with impressed crenellated detail, the tapering hexagonal body with s...

This charming signed oil on board painting from the early 1900s captures a timeless moment of quiet reflection. The artwork depicts a young woman seated outdoors, dressed in traditio...

Center writing table Cassina Brothers (Francesco and Giuseppe) Milan, January 26, 1796 79.5 x 94 x 58.5 cm State of conservation: excellent The rectangular table features a minimall...

Pair of vintage accent or table lamps feature a variation of the iconic Pembroke pattern; urn-shaped porcelain bodies are mounted on round ornamental brass bases and set with brass ...

Refined dining set dating back to the second half of the 19th century, in the Louis Philippe style, consisting of a round inlaid table and six matching chairs. The table features a f...

Decorate a hallway, dining room, powder room, or library with this striking pair of mid-century American Renaissance Revival two-light wall sconces. Crafted circa 1950, each antique-...

Pair of Neoclassical Arrow Wall Light Sconces, Mid Century, France c1960 Sleek and stylish Maison Jansen-style wall lights, with subtle neoclassical detailing. Each pair features a ...

Early 20th century, Egyptian Revival, light, slat oak Thebes stool styled after the stools of ancient Egyptian royalty, attributed to Liberty & Co.

A superb example of Meissen craftsmanship, this hand-painted porcelain plate features a finely reticulated border of raised grape leaves and vines, accented throughout with hand-appl...

A very fine and large 19th century Louis XV style Whimsical Neoclassical Revival style Oil on Canvas "The Triumph of Flora" attributed to Ferdinand Wagner II (German, 1847-1927), school of François Boucher (French, 1703-1770). The impressive artwork depicting a semi-nude Flora hovering through the clouds surrounded by playful cupids, cherubs, love doves and a seated maiden, within white and grey clouds, offering her Spring flower bouquets and floral wreaths, within a banded giltwood frame. Note: Previously used as a ceiling painting. Unsigned, Circa 1870. Measures: Canvas height: 91 3/4 inches (233 cm) Canvas width: 59 inches (150 cm) Frame height: 61 3/8 inches (155.9 cm) Frame width: 93 1/2 inches (237.5 cm) Depth: 2 3/8 inches (6 cm) Ferdinand Wagner II (German, 1847-1927) was the son of Passau Ferdinand Wagner Senior, a teacher at a vocational art school who began training him professionally at a young age. After traveling to Italy in 1867-1868, he continued with his art studies at The Munich Academy of Arts led by Peter Von Cornelius and Julius Schnorr Von Carolsfeld...

18th century Danish oak dome top coffer circa 1790. Beautiful dome top coffer made from solid oak, and decorated with ornate strap work.  Lid opens to reveal a partially fitted inte...

Elegant "Windsor" pendant lamp, inspired by traditional English lanterns. Crafted from brass with clear glass panels, it combines classic charm with artisanal quality, making it a st...

A fine pair of Venetian or Murano glass cordials. Attributed to Salviati & Co. With copper aventurine cups supported by a filigrana twist stem and wafer foot. Both the foot and ri...

The source of the rug comes from the book Völker, Angela, Die orientalischen Knüpfteppiche das MAK, Vienna: Böhlau, 2001: 42–5. This rug with the central star was designed in the early 16th-century rug by Mamluk Sultane of Cairo, Egypt. It is exhibited at MAK – Museum of Applied Arts, Vienna Austria. As its impressive size, materials, and design quality suggest, the carpet is a product of an accomplished court workshop and likely dates from the late period of the last Mamluk dynasty. The quantity of the colors used speaks for an earlier date around 1500; the delicate vegetal border with leaf tendrils and the characteristic umbrella leaves...

Antique Italian Venetian Burl Wood and Gilt Loveseat, Settee, Sofa or Canapé Grace your space with this 20th century Italian Venetian loveseat, settee or canapé. The frame...

George Smith and Co. The Sun Foundry, Glasgow, attributed. A Gothic Revival cast iron gate with both side railings in the style of Dr C Dresser with all-over Geometric decoration. Re...

Mid 19th Century Victorian Period Rosewood & Parcel Gilt Easy Arm Chairs - English circa 1860 - 28"w x29"d x 38"h (14" to the seat) Mid 19th Century Victorian Period Rosewood & Parce...

Uniquely French, these wrought iron "fire dragons" are great as decor in your fireplace, with or without the burning flames. With today's eclectic and layered interiors, the Gothic d...

This is a Lions Clubs International Pageant Crown. It depicts a silver tone metal tiara decorated with an arc made of six petals flowers, rhinestones and stars arranged in descending...

Early 20th century Venetian baroque pair of spectacular and refined nightsatnds, in hand-carved walnut and burl walnut fillet inlay , period 1930s, by Testolini & Salviati Jesorum; p...

1890s Renaissance Revival cupboard wardrobe in carved walnut, with two internal mirror on doors by Dini & Puccini (Cascina - Tuscany) It can be used as a bookcase by adding internal ...

A large and incredibly well carved antique Italian Carrara marble fireplace in the Renaissance style Made in Venice during the middle of the 19th century in the Renaissance revival s...

Charming baroque style wrought iron bench painted periwinkle. Lattice iron seat for three with three lattice ovals on the back. Eight legs, two curvy arms. Arm height: 26". Perfect i...

Italian Renaissance-style (19/20th Century) bronze dore oval crown shaped chandelier with fleur-de-lis finial and red velvet upholstery.

This is one of a closely matching, but not identical pair of Neoclassical wall mirrors from of a Bucks County, PA estate. The mirrors were displayed opposite each other, in the same ...

A Fine Anglo-Dutch 19th Century Baroque Style Ornately Carved Walnut Five Piece Parlor - Salon Suite, After Daniel Marot (French-Dutch, 1661–1752); comprising of a settee, two armchairs and two side chairs. The intricately pierced high-backs carved frames with scrolled and floral designs, curved armrests and cabriolet conjoined legs. Circa: 1890. Measures: Settee height: 54 3/4 inches (139.1 cm) Settee width: 70 3/4 inches (179.7 cm) Settee depth: 24 inches (61 cm) Armchairs Height: 52 inches (132.1 cm) Armchairs Width: 28 inches (71.1 cm) Armchairs Depth: 21 1/2 inches (54.6 cm) Side chairs Height: 50 inches (127 cm) Side chairs Width: 21 1/2 inches (54.6 cm) Side chairs Depth: 20 1/2 inches (52.1 cm) Seat height: 20 3/8 inches (51.8 cm). Daniel Marot or Daniel Marot the Elder (1661–1752) was a French-born Dutch architect, furniture designer and engraver at the forefront of the classicizing Late Baroque Louis XIV style. He worked for a long time in England and the Dutch Republic, where he was naturalised in 1709. Born in Paris, he was a pupil of Jean Le Pautre and the son of Jean Marot, who was also an architect and engraver. Marot was working independently as an engraver from an early age, making engravings of designs by Jean Bérain, one of Louis XIV's official designers at the Manufacture des Gobelins, where far more than tapestry was being produced. The family were Huguenots and were part of the wave of émigrés who left France in the year of the Edict of Fontainebleau and Revocation of the Edict of Nantes (1685) to settle in Holland. Daniel Marot brought the fully developed court style of Louis XIV to Holland, and later to London. In the end, the English style which is loosely called "William and Mary" owed much to his manner. In the Dutch Republic, Marot was employed by the Stadthouder, who later became William III of England; in particular, he is associated with designing interiors in the palace of Het Loo, from 1684 on. Though his name cannot be attached to any English building (and he does not have an entry in Howard Colvin's exhaustive Dictionary of British Architects) we know from his own engraving that he designed the great hall of audience for the States-General at the Hague. He also decorated many Dutch country-houses, introducing the “salon” and popularizing ornamented ceilings in The United Provinces/ Netherlands. State bed, designed by Daniel Marot, engraving, ca 1702 In 1694, he traveled with William to London, where he was appointed one of his architects and Master of Works. In England his activities appear to have been concentrated at Hampton Court Palace, where he designed the garden parterres, which were swept away in the following generation and have been restored at the end of the 20th century. His designs for the Great Fountain Garden survive. Much of the furniture, especially the mirrors, guéridons and state beds, in the new State Rooms readied for William at Hampton Court bears unmistakable traces of his authorship; the tall and monumental embroidered state beds, with their plumes of ostrich feathers, their elaborate valances and cantonnieres agree very closely with his later published designs. After William's death Marot returned to Holland where he lived at the Noordeinde 164 in The Hague from 1720 until his death in 1752. The house with his salon, kitchen, hallway and possibly some of his ceilings still exists. We owe much of our knowledge of his work to the folio volume of his furniture designs published at Amsterdam in 1712. Not surprisingly the designs show strong French and Dutch influences; what reads as their "English" look is more probably the result of Marot's court style on other London designers. Marot was a nephew of Pierre Gole...

Elegant small mirror made of wrought iron and hand-forged, in neo-Gothic style. Its "gate" shape evokes that of a Gothic window or stained glass window, characterized by an ogival pr...

Mid-19th century Italian neoclassic one drawer table or desk in solid larch, polished to wax. An antique and experienced table indicated and suitable for a modern kitchen. The beauty...

OUTSTANDING Antique French Barley Twist Oak Pedestal, Plant Stand, or Newell Post~~57" Tall~~~c. 1880s TALL French HIGHLY CARVED pedestal or plant stand with grapevine carvings~~...

Raised on an olive velvet base. Dimensions include the base. Portraiture is often seen as the quintessential Renaissance art form, and clay was used increasingly during the 15th cen...

Madrid Hartwell Leather Sofa by Wesley Hall MINT!

Spectacular pair of Ebonized Mirrored Tables with Spiral Twist Legs and partial Gilt. Eglomise styled tables with hand painted stencils betwee...

An exquisitely carved wooden mirror, finely gilded with pure gold leaf. The mirror features the original mirror and is decorated with architectural and plant motifs. The cymatium als...

Handmade steel and brass wine holder cage holds 88 wine bottles and has hinged doors that can be locked with a padlock. Handmade in the USA of steel with decorative brass rivets. Un...

An exceptional American Renaissance Revival center table, circa late 19th century. Features a serpentine form with walnut burl top centered by floral marquetry, inlay and banding. Th...

This exceptionally sturdy trestle table has compact dimensions that make it ideal as a desk or kitchen dining table. The piece is entirely made from solid white oak, its top consisti...

Gorgeous solid wood wall stick holder, embellished with fine decorative carving at the top. The slender frame has numerous side hooks, ideal for hanging walking sticks, umbrellas or ...

Black Cast Iron Fountain with Cherub Boy A good piece in a classical style with dolphins at the base and a cherub boy This good Heavy piece comes into 3 pieces so it is not too dif...

This is a French Porcelain Sculpture of Virgin Mary and Baby Jesus. It depicts the Virgin Mary standing up while holding a seated Baby Jesus with his arms opened up. Both of their ro...

Oval glass and brass coffee table, classic elegant 1950s style

A good 19th century Italian 'Florentine' or 'Lucerne' 4 burner brass oil lamp, in the Renaissance Revival manner, circa 1860. Designed to burn whale oil which is placed into a reserv...

19th Century American Brass Ecclesiastical Revolving Dual Sided Lectern/ Music Stand USA, 1871 A Remarkable piece of 19th-century American ecclesiastical workmanship: a Brass Revol...

Entertain in style with this 78 piece of elegant cobalt blue and white porcelain china made in England or France possibly in the 1840s or 1850s w...

A lovely Belle Époque buffet in walnut in the style of Henri II of France with carvings of putti on the upper door panels, one holding a sickle and a bundle of wheat, and the other r...

English Renaissance-style (20th Century) large dark wood hour glass with brass finials.

A Large and Important Louis Philippe Period Gilt-Bronze Three-Piece Clock Garniture. Attributed to the Feuchère family. The clock movement by Hémon. In the Renaissance revival style. Comprising a clock and a pair of nine-light candelabra. The clock case of architectural out-shape with cherubic term figures supporting a rectangular pediment centred by an urn. The sides of the clock tower cast in relief with strapwork and foliage. The dial inset with enamel Roman numeral chapters. The twin-barrel clock movement with tic-tac escapement, silk suspension and countwheel strike to bell. Pendulum and winding key. The candelabra as twin-handled vases supporting tiered branches with candle nozzles. Modelled en suite with naturalistic scrolls and foliage. Surmounted by finials modelled as an eagle toying with a serpent. The scrolled handles flanked by cherubic figures and serpents. The bodies fronted by bacchic masks and supported on socles bearing angels. France, Circa 1835. The clock movement signed ‘HEMON A PARIS’. The clockmaker Claude Hémon was established at rue de St. Martin circa 1810-1820. Dimensions, the clock: Height : 106 cm 42 inches Width : 58 cm 23 inches Depth : 38 cm 15 inches Weight : 72 kg Dimensions, the candelabra: Height : 104 cm 41 inches Width : 36 cm 14 inches Depth : 36 cm 14 inches Weight : 28 kg (each) This magnificent clock garniture of palatial size is designed in the Renaissance revival style and dates to the Louis Philippe period. Executed in sculptural gilt-bronze with leaves, scrolls, masks and exotic birds, the naturalistic ornament represents an elaborate system of allegories and mythological iconography which recall the influence of Italian Mannerist art in France. The distinctive design reflects a new style which replaced the neoclassism of the French Empire period. With the fall of Napoleon Bonaparte, artists and designers sought a new decorative vocabulary with which to aggrandise the Bourbon restoration. With the French revolution and Louis XVI’s execution still within living memory, it seemed too soon for a revival of the style of the Grand Siècle. Instead they looked further back to the time of François I, whose patronage of Italian artists had brought the Renaissance to France. The idea of a renaissance revival appealed to the new Bourbon monarchs and their patronage ignited great creativity in the arts. The reigns of Louis XVIII and Charles X, who were brothers of the late King, Louis XVI, and later of Louis Philippe I, nicknamed the Citizen King, coincided with the enlightenment and the dawn of the industrial age. Great technical progress was made in metallurgy and casting which raised the art of bronze making to new heights in the hands of great masters such as Pierre-Philippe Thomire (1751-1843) and Pierre- Jean-François Denière (1774-1866). The renaissance provided a rich and varied source book in architecture, furniture and other decorative arts for designers such as Claude Aimé Chenavard (1798-1838) whose Album de l’ornemaniste (1835) became a reference work. Léon Feuchère (1804-1857) also produced drawings of interiors, silver, bronzes and furniture and was a scion of the prominent family of bronze castors established by his grandfather Pierre-François Feuchère (1737-1823) who had worked as a gilder for the bronze caster Pierre Gouthière before setting up a bronze foundry that would become one of the largest in Paris under the management of his son Lucien-François (d. 1841) and grand-son Armand (1797-1866). A number of drawings by Léon Feuchère have recently been discovered by the Rijksmuseum and probably belonged to the collection of Louis-Philippe-Albert, duc d’Orléans, comte de Paris (1838-1894). Louis-Philippe-Albert was the grandson of the French king, Louis-Philippe I (1773-1850), who granted him the title of comte de Paris, and the son of Ferdinand-Philippe, duc d’Orléans (1810-1842). Ferdinand-Philippe was an important collector and sponsored many young artists to create metalwork objets d’art, notably a celebrated surtout de table made by Claude-Aimé Chenavard and Jean-Jacques Feuchère (1807-1852), a cousin of Armand and Léon. Principally remembered as a sculptor, Jean-Jacques Feuchère trained in the family foundry and designed small objects, cigar boxes...

Gorgeous Swedish Neoclassical or Biedermeier style buffet, sideboard or credenza with dark golden birch with ebonized trim. Two doors on the sides and one center door open to reveal ...

A pair of 20th c., side tables/stands, the round top with inset rouge breche marble, above a foliate carved capital on a fluted column. These tables/stands are richly carved and are ...

Saturday Sale until 31 July 2024 Mid-late 19th century (Second Period) American Empire chair, stripped, tightened and finish restored and polished, ready for your upholsterer's work...

This 1950s French coffee table features an ornate wrought iron base accented with elegant, curvilinear detailing. Its intricate scrollwork and sculptural legs create a sense of light...

A magnificent Set of 12 Antique George IV Soup Plates in a classic shaped circular form and featuring a Rococo Revival style border showing an intricate Shell and Foliate design repe...

Lovely pair of 20th century Renaissance Revival style table lamps entirely handmade by Bartolozzi & Maioli in Firenze, decorated with achantus leaf carving, rose and blue painting. Both circular wooden vases stand...

Mantel clock softwood decorated mahogany inlaid in light wood with flowers and foliage. White enameled clock face with Roman and Arabic numerals. Empire style, circa 1900. Measures...

Pair of extra large Spanish gilt iron and metal three light gothic style wall sconces, circa 1970s. Each sconce has three candelabra sized sockets on a tall holder that is mounted to...