Rococo Furniture

With a tall scrolled back and scrolled lower frame. In the Classic Venetian sage green paint with white scrolls and a large polychrome painted crest on the back. The bench platform l...

18th century French Rococo Painting Circle of François Boucher This idyllic pastoral oil painting shows Boucher’s impact on this f...

This is a pair of 19th century hand painted Venetian side chairs. The seats are in a blue velvet that is in very good condition. The frames are a celadon color with flowers and gilt ...

Exceptional antique English style altona chest of drawers made by Irwin. Features gilded gold accents with Burl and walnut throughout the surfaces.

Serpentine faux marble top over three conforming drawers. Raised on cabriole legs. Painted with vignettes of country scenes on a yellow ground.

Italian 18th century rococo carved walnut sofa or canape Standing on four cabriole legs with stylized foliage a carved rocaille shaped apron with a padded seat. The padded back with a carved wooden frame decorated with acanthus leaf scrolls and a cresting centered by a large rocaille. The carving presents elegance and movement in a vivid manner with powerful rocaille carving as is characteristic of Italian Rococo furniture...

A fine antique porcelain Cupid figurine. By Meissen. Model no. F13 from the Cupid Motto Series. Entitled "Je decouvre tout". Originally de...

Pair of very large floral Rococo-style Meissen potpourri vases German, Late 19th Century Height 89cm, width 44cm, depth 33cm These charming vases were manufactured by Meissen, Europe’s oldest porcelain manufactory. Each feature impressive floral and figurative design representational of the best of German porcelain wares. The pieces are topped by richly ornamented lids. Surmounted by extensively applied three-dimensional flowers and greenery, the designs create the illusion of a real flower bouquet. Below the flower bunch, the porcelain base is revealed. Decorated with rocaille motifs and coloured in pale blue, pink and shining gold, the pierced detailing enables the easy diffusion of potpourri scent. Rococo style genre scenes adorn the baluster-shaped body of each vase. Set in a woodland, the intricate paintings portray figures dressed in typical 18th century garments. On the second vase, a couple is joined by a lady in a reclined position holding a basket full of flowers. A pair of twin pale blue rocaille-shaped handles are mounted on both sides of the vases. Richly decorated with butterflies, roses, carnations and sweet peas, the design is completed with delicate floral composition on the white porcelain ground. Below the handles, a brown-haired winged putto is seen reaching towards the front. The bright blue cloth covering parts of his body stands out against his soft, pale skin. The base of the vases is shaped with further rocaille forms, the detailing highlighted in gilt. A large female figure, in a similar position to the putto, reaches forward holding a basket of flowers. The flower types are identical to the larger mounts on other parts of the vases, demonstrating the makers' exquisite skill to make intricate porcelain details in various forms, shapes and sizes while maintaining their real-life appearance. Both vases stand on porcelain stands, supported on four scrolled feet. Each is decorated with yellow, orange, blue, cream, red and purple flowers. The sides are painted with Rococo style genre scenes and floral bouquets. The pieces are marked with the blue crossed sword mark and incised ‘B.C’. Including both naturalistic and figurative ornaments, these stunning Meissen porcelain potpourri vases...

A pair of Swedish Rococo style painted wood armchairs from the late 19th century, with carved splats, cabriole legs and upholstery. Created in Sweden during the last decade of the 19...

Vintage bronze sconces in Louis XV style with voluminous, very beautiful casting. Support in gilded bronze and handcrafted by craftsmen. The decor consists of stylized acanthus scr...

18th century Swedish Rococo arm chair from Sundsvall Medelpad, Northern Sweden. A beautiful arm chair with nice proportions & curvy legs. Scraped b...

A stunning antique, circa 1880s, Dresden porcelain figural flower encrusted candlestick - candelabra mounted as a lamp. Exquisitely handmade and painted in Germany in the late 19th century, developed by Ernst August Leuteritz, the very finest of quality, exceptionally executed in the decadent opulence and sophisticated elegance that is Meissen Rococo taste, featuring sculptural seated putti holding fruit and flower motif, having an architecturally articulated shaped baluster shaft, tripartite base rising on high volute C-scroll feet, elaborately decorated in the most intricate floral and fiolate applied and relief decoration in rich polychome and brilliant gold leaf gilt accents. Early 20th century and later light fixture elements, professionally electrified and fashioned as a large luminaire table lamp. The candlestick drilled, standard mounted with adjustable two light post, topped with removable rod retaining remnants of original paint finish with distressed chippy paint patina, surmounted with matching ornate porcelain flower bouquet...

A pair of high class rococo armchairs made in Stockholm. This type of armchairs with loose back plate were made in the Castle workshop. Front legs are decorated with acanthus leafs ...

Immaculate Conception. Carved and polychrome wood, glass, silver. Portuguese school, 18th century. Sculpture made of wood showing a young Mary, with her hands together in front of h...

Made in the Netherlands circa 1780, this lovely Delft charger features a hand painted bouquet of beautiful flowers. We see a large yellow tulip, yellow tulip buds, and bright blue le...

19th Century Rococo style ladies' desk inlaid with light wood in the form of flowers and foliage, cabriole legs with attached brass fittings, frame with drawer. At the bottom with fi...

Large antique oak chest of four drawers with handsome brass hardware pulls all resting on cabriolet feet. It has been given an exceptional new professional seafoam green layered pain...

Sculptural 18th century Italian gilded double-mounted cross on hematite with pyrite inclusions and adorned with pyrite rosettes. A matching smaller cross is mounted onto the bigger cross...

A provincial Swedish Rococo style console table with single drawer. Brass hardware is period but not original to this piece. Wide contoured top sits on a notched skirt and cabriolet ...

A very well carved giltwood Rococo style oval mirror by Harrison & Gil The bevelled oval mirror plate surrounded by a Gadrooned inner band and profusely carved frame of acanthus, grapevine, foliage and scrolls. labelled to back. Images and video are a true reflection of condition. First inspired by the world of decorative style while growing up in the 1970s along the shoreline of the French Riviera, Christopher became fascinated with the elegance intrinsic to French design. A fascination which he turned into a legend over the course of his life. After numerous early career ventures, in 1993, Christopher traveled to Java, Indonesia with his then-girlfriend and business partner, Marta Gil, where the two set up a small factory called Harrison & Gil. Initially renowned for its wide range of decorative mirrors, Harrison & Gil quickly expanded into upholstery. Projects of Christopher Guy; Landing his pieces in many films and television shows, further adding to the brand’s iconic nature! Movies include top names such as The Hangover, Casino Royale, The Devil Wears Prada, Ocean’s Thirteen, Tomorrow Never Dies, The Mummy, The Thomas Crown Affair, Charlie’s Angels and many others. Projects of Christopher Guy; The Savoy London...

18th Century Swedish Rococo children chair from Sundsvall Medelpad, Northern Sweden A very charming and genuine Rococo Chair. Great for children aged 6-12 years. Scraped by hand to its originalpaint. Good antique condition with minor historic knocks, marks, scratchers, wear, imperfections as is to be expected with functional antique furniture. A rare find that would look amazing in the right location. It is upholstered in old antique linen fabric...

Antique 18th century French tapestry pillow. 24'' x 22'' x 6''.

Pair of silver plate candelabras signed Christofle, France, early 20th century.

A pair of shapely late 18th Century Swedish Rococo side chairs. With carved top rail and serpentine seat over a generous cabriole leg, terminating in ball and claw feet. The whole re...

20th century Peruvian silver tea and coffee set by Camusso Peru, Early 20th Century Tray: Height 5cm, width 78cm, depth 45cm Teapot on stand: Height 48cm, width 23cm, depth 21cm...

Antique Rococo drop-leaf table from Sweden, crafted around 1770. The table has one leaf, originally the table most likely had two but one has disappeared during the passage of time. ...

Fabulous wooden rectangular frame with fantastic patina. This wood frame will accommodate a 12x9 piece of artwork. Add some vintage charm to your favorite water color, print of oil p...

Painted Rococo trumeau mirror, having a painted finish showing desirable natural wear, its raised and fielded frame, surrounding foliate scrolls and a shaped mirrorplate. Stock I...

I always love these! This is a lovely 19th century French blue and white glazed terracotta stove. It is comprised of five separate stacking sections plus the four feet. It has a vivi...

A most impressive antique Italian Venetian Rococo carved painted parcel gilt wooden hall lantern. Hand carved in the Veneto region (Venice) of Northeast Italy in the 18th / possibly early 19th century, exceptionally executed in the highly ornate, whimsy, light, airy, dramatic splendor that is period late Baroque Rococo style, lavishly ornamented and elaborately sculpted, featuring a large triangular sculptural form enclosing later electrified three faux candle lights, showcasing the original pale pastel green ground adorned with whimsy hand painted polychrome flower motif and ornate giltwood carvings, with beautifully aged patina over the whole. circa 1740-1810 This very large lantern probably graced a sweeping hall or palatial entry of a Venetian aristocratic palazzo decorated with frescoed walls and ceilings, marble floors, surrounded by opulent artwork. Importance / History: For many centuries, the control of artificial light was an important status symbol for people living in most cultures and was an instantly understood sign of wealth and power. Beginning in the early 17th century, grand lanterns such as this were first created and hung in the entrance halls, foyers and/or vestibules of important mansions and manor houses of the aristocratic and affluent classes of Italy, France and Spain. Up until the early 20th century, the entrance hall was considered to be one of the most important spaces in any house. The main reason was that was the most public space in a house, and prior to phones or email, the space into which guests were admitted. Many, such as business people or important tradesmen, seldom went any further into the house. Therefore, that important entryway was designed and decorated with the intent of making the best impression on anyone who might enter it and to ensure they had the highest opinion of the residents of that house. Dimensions: (approx) 32" Tall, 16.75" Wide, 16.75" Deep Condition: Very good antique condition with highly desirable original warm rustic distressed chippy paint patina. Modern lighting and wiring. Lots of antique character and old world European charm, wear consistent with age and use, including scattered minor nicks, losses and exposed gesso adding to the sophisticated whimsical elegance, warmth, and rich antique opulence! Similar to a chandelier / hanging ceiling lamp / monumental pendant light...

c. 1770s pedal harp manufactured by Georges Cousineau (1733-1800), a French luthier who specialized in harps; Cousineau's signature is present on the soundboard as well as the city o...

Our iconic Cherub Bed was the first bed we created in our venture to achieve beautifully hand-carved furniture with the aim of capturing all the nuances of antique fine-carving. Thes...

A beautiful 18th Rococo writing table in absolutely original condition. The table features a single drawer and a beautiful vintage patina with the original...

Enamel cloissoné and gilt bronze picture frame. France, late 19th century.

A pair of Rococo style carved wood and gilt wall mirrors. Carved with connecting C scrolls and acanthus leaves. Italian, late 19th century.  

A Pair of Italian Rococo Style Gold Gilt Wall Brackets. Brackets feature impressive gold scrolling with floral motif. Top of shelf is painted black. Hangers in place on reverse side....

This gorgeous pair of blue and white Dutch Delft mantle jars was hand-painted at "The Claw"* circa 1780. The front panels depict a songbird surrounded by flowers and scrolling vines....

A fine antique 18th German porcelain figurine. By the Royal Meissen Porcelain Manufactory. Model Number 12. Depicting a Trumpeter from the 'Gallant Orchestra' series created b...

Italian Rococo-style (19th Century) carved giltwood dressing table / vanity mirror with a carved base. Condition: Good; Wear consistent with age and use

An impressive Antique French Silver Centrepiece Bowl in a ornate Rococo style design standing on 4 shaped feet. This unusual Silver Basket has a hinged asymmetrical handle. The Rococ...

Housing 5-lights, crystal bobeches sitting on giltwood posts. Will be rewired and for the United States, we will install UL US certified sockets and will put in appropriate sockets f...

Italian Rococo Revival (19/20th Cent) carved gilt wood wall bracket shelf with a white marble top. Condition: Good; Wear consistent with age and use

Solid walnut wall-mounted console with beautiful beaded and Louis XV style bronze decors. Dimensions: Height 82 cm / 32.28 in; Width 97 cm / 38.18 in; Depth 44 cm / 17.32 in.

Antique Meissen 68-piece floral dinner service German, c. 1900 Largest serving dish: Height 6cm, width 52.5cm, depth 37.5cm Square salad bowl:...

Fine 18th Century Swedish Roccoco chair with marks of (The Swedish Royal Treasury) HGK It comes from the upper class environment. A fantastic chair wi...

Classic Venetian Archtop Mirror With Murano Glass. A stunning 17th century-inspired archtop mirror with 24-carat crystal gold, beautiful blue Murano glass and floral engravings. Bea...

Unusual easel framed Venetian carved wood parcel-gilt mirrors. Original finish, very decorative Italian dresser top mirrors selling and priced as a ...

Designer: Unknwon Country: Italy Manufacturer: Unknown Materials: Cotton, Linen Style: Rococo Year: 1950s Vintage Antique Fortuny Decorative Textile Pillow Set...

Northern Swedish rococo long case clock. The shape of the case is rococo and the expression is unique for the area Jämtland in Sweden. Made by hand during the late 1700s in pine with...

Antique French Rococo style gilt bronze curtain tiebacks or curtain holders, set of four. A beautiful and impressive set of four Rococo or Louis XV-style gilt bronze curtain holders ...

From La Maison London, specialists in period style, fine carving of furniture in the French and Italian style, we bring you our Rococo style, 'Cherub Bed'. Hand carved in solid wood ...

Antique French Louis XV Style Carved Painted Bergere Giltwood Chairs Newly Upholstered in Gold & Teal Patterned Velvet - Pair We have two beautiful French Louis XV style bergere cha...

Mid 19th century English silver plated samovar / tea or coffee urn with Ram detail side handles and finial lid on square footed base . The samova...

This is an extremely rare pair of original hand-painted Venetian paint decorated pair of nightstands. They are in good condition with some minor finish as to be expected for their ad...

Robert Gardelle portrait Swiss oil painting, 18th century, Switzerland. A portrait by painted Robert Gardelle. Signed a tergo / on the back R. Gardelle...

This rare and impressive Dutch Rococo cabinet, made around 1750, is a masterpiece of craftsmanship and elegance. The cabinet is made of oak and finished with a luxurious mahogany ven...

Maiolica sugar bowl Antonio Ferretti Manufacture Lodi, Circa 1770-1780 Maiolica polychrome decorated “a piccolo fuoco” (third fire). It measures 3.54 x 4.52 x 3.54 in (9 x 11,5 x 9 cm) Weight: 0.394 lb (0.179 kg) State of conservation: small and slight chips on the edges. The small sugar bowl has a swollen and ribbed body resting on a flat base. The cap-shaped lid follows the rib of the container and is topped with a small knob in the shape of a two-colored fruit. The sugar bowl is painted “a piccolo fuoco” (third fire) with the characteristic floral motif of bunches and isolated semis. An example which closely corresponds to this one is kept at the Civic Museum in Lodi (G. Gregorietti, Maioliche di Lodi, Milano e Pavia, Catalogo della Mostra, Milano, 1964 n. 137). This decorative style represented a strong point of the Lodi factory, which established itself thanks to the vivid nature of the colors made possible by the introduction of a new technique perfected by Paul Hannong in Strasbourg and later introduced by Antonio Ferretti to Italy. The production process, called “piccolo fuoco” (third fire), allowed the use of a greater number of colors than in the past; in particular, the purple of Cassius, a red made from gold chloride, was introduced. Its use allowed for many more tones and shades, from pink to purple. The Ferretti family started their maiolica manufacturing business in Lodi in 1725. The forefather Simpliciano started the business by purchasing an ancient furnace in 1725 and, indeed, we have evidence of the full activity of the furnaces starting from April of the same year (Novasconi-Ferrari-Corvi, 1964, p. 26 n. 4). Simpliciano started a production of excellence also thanks to the ownership of clay quarries in Stradella, not far from Pavia. The production was so successful that in 1726 a decree of the Turin Chamber came to prohibit the importation of foreign ceramics, especially from Lodi, to protect internal production (G. Lise, La ceramica a Lodi, Lodi 1981, p. 59). In its initial stages, the manufacture produced maolicas painted with the “a gran fuoco” (double fire) technique, often in turquoise monochrome, with ornamentation derived from compositional modules in vogue in Rouen in France. This was also thanks to the collaboration of painters like Giorgio Giacinto Rossetti, who placed his name on the best specimens next to the initials of the factory. In 1748 Simpliciano made his will (Gelmini, 1995, p. 30) appointing his son Giuseppe Antonio (known as Antonio) as universal heir. After 1750, when Simpliciano passed away, Antonio was directly involved in the maiolica factory, increasing its fortunes and achieving a reputation on a European level. Particularly important was the aforementioned introduction in 1760 of the innovative “a piccolo fuoco” (third fire) processing, which, expanding the ornamental repertoire with Saxon-inspired floral themes, was able to commercially compete with the German porcelains that had one of its most renowned offerings in the naturalistic Deutsche Blumen. Antonio Ferretti understood and promoted this technique and this decoration, proposing it in a fresher and more corrective version, less linked to botanical tables, both with or without contour lines, as well as in purple or green monochrome. After efforts to introduce more industrial production techniques to the sector succeeded, even the Ferretti manufacture, in the last decade of the eighteenth century, started heading towards decline despite its attempts to adapt production to neoclassical tastes. In 1796 the Napoleonic battle for the conquest of the Lodi bridge over the Adda definitively compromised the furnaces. Production resumed, albeit in a rather stunted manner, until Antonio's death on 29 December 1810. (M. L. Gelmini, pp. 28-30, 38, 43 sgg., 130-136 (for Simpliciano); pp. 31 sgg., 45-47, 142-192 (for Antonio). Bibliography G. Gregorietti, Maioliche di Lodi Milano e Pavia Catalogo della Mostra, Milano, 1964 n. 137; C. Baroni, Storia delle ceramiche nel Lodigiano, in Archivio storico per la città e i comuni del circondario e della diocesi di Lodi, XXXIV (1915), pp. 118, 124, 142; XXXV (1916), pp. 5-8; C. Baroni, La maiolica antica di Lodi, in Archivio storico lombardo, LVIII (1931), pp. 453-455; L. Ciboldi, La maiolica lodigiana, in Archivio storico lodigiano, LXXX (1953), pp. 25 sgg.; S. Levy, Maioliche settecentesche lombarde e venete, Milano 1962, pp. 17 sgg.; A. Novasconi - S. Ferrari - S. Corvi, La ceramica lodigiana, Lodi 1964, ad Indicem; Maioliche di Lodi, Milano e Pavia (catal.), Milano 1964, p. 17; O. Ferrari - G. Scavizzi, Maioliche italiane del Seicento e del Settecento, Milano 1965, pp. 26 sgg.; G. C. Sciolla, Lodi. Museo civico, Bologna 1977, pp. 69-85 passim; G. Lise, La ceramica a Lodi, Lodi 1981; M. Vitali, in Storia dell'arte ceramica...

A Monumental Meissen Porcelain Figural Group of Apollo and the Nine Muses on Mount Parnassus. Comprised of sixteen interlocking parts. Apollo standing holding a lyre and with Pegasus besides a tree, atop a rocky outcrop detailed with foliage and waterfalls above nine goddesses: Calliope, seated and shown writing, representing eloquence and epic poetry. Clio, seated with an open book and blowing a trumpet, representing history. Erato, seated and holding a kithara, representing science and the arts Euterpe, seated and holding a flute, representing music. Melpomene, seated holding a knife and with one hand to her head, representing tragedy. Thalia, seated and holding aloft mask, representing comedy and idyllic poetry. Urania, seated with telescope and globe, representing astronomy and astrology, Polyhymnia, standing with one hand raised and holding a book, representing sacred poetry. Terpsichore, standing, representing dance. Each piece exceptionally finely detailed and painted. The base portions with rocaille edges. On a later black polished wooden base. Multiple blue crossed swords marks. Each piece titled to underside. German, Circa 1880. Mount Parnassus, is a spur of the Pindus Mountains in central Greece and was sacred to the ancient Greeks and in mythology to Apollo, the god of music and poetry and of the Sun and light. Mount Parnassus the mythical centre of poetry, music, and learning in ancient Greece was a popular theme in Barqoue and Rococo art, often substitutable with Athena’s arrival at Mount Helicon from the fifth book of Ovid’s “Metamorphoses”, where she asks the Muses to show her the new spring which gushed forth from the spot where Pegasus “with his hoof of horn opened the earth” (V, 250-260). Here, the mountain, formed from rugged rock cliffs, culminates in a plateau on which the youthful Apollo stands and plays the lyre. The Castalian spring flows from beneath Pegasus’ hoof, representing the source of inspiration and attracting the nine muses, who embody the arts and inspire creation through song, music, and dance. Mount Parnassus was created at the Meissen porcelain manufactory as a table centrepiece and an earlier version, apparently with only five muses, is listed in the inventory of the pastry shop of the Meissen manufactory manager and cabinet minister Heinrich Graf Brühl in 1753. The storage in the pastry shop of approximately 3,000 objects and dishes, including many individual parts for centrepieces, is related to their function as table decorations, replacing decorations previously made by the confectioner from perishable materials such as sugar or wax. The purpose of this table decoration was as a feast for the eyes to accompany the feast of the banquet. The sculptural figurines often depicted a particular theme, with characters drawn from theatre and opera, from classical mythology or pastoral idylls. Allegories and mythological themes, such as the glorification of fine arts, were also popular. Stylistically, Mount Parnassus fits Kändler’s style of the 1740s, and was sold by Brühl in 1762 to Frederick the Great of Prussia who used mythology as a means of self-expression and had already ordered individual figures of Apollo and the Muses as table decorations in 1744. Today it is in the Museum of Applied Arts, Frankfurt (inv. no. M.L. 41). There is another version of Mount Parnassus, from the collection of Prince Alexander Dolgorukoff, in the Hermitage in Saint Petersburg. The present version dates to the second half of the nineteenth century when there was a great revival of Kändler rococo figurines which were reissued and a “Second Rococo”. Another nineteenth century example is in the collection of the Museo Francesco Borgogna, Italy (inv. 1906, XIII, 19-20). These nineteenth century versions were made by the Meissen factory using Kändler's period models. It is recorded that a new version of Mount Parnassus, dating to the 1880s, was part of the Royal Porcelain collection in Dresden: 'In the porcelain collection there is a new version from the 1880s based on the old models, the largest group of this genre, the Parnassus, which shows the named muses all around on the lower part of the rock, each practising their own art, while on the top there is Apollo with the lyre and next to it the Castalian spring rises from the hoofbeat of Pegasus. Each figure is executed individually with its rocky background, and all the pieces are then fitted together, as we have already seen in his earlier, larger compositions. The rock pieces are finished off like a pedestal at the bottom with Rococo ornaments.' (Jean Louis Sponsel, Kabinettstücke der Meissner Porzellan-manufaktur von Johann Joachim Kändler, Leipzig, 1900, pp. 203-204). Kunst und kunsthandwerk; monatsschrift herausgegeben vom Österreichischen museum fuer kunst und industrie, Vienna, 1894, v.7 pt.1, p.133. Kari Berling, Das Meißner Porzellan und seine Geschichte. Leipzig 1900, S. 99, 187-200. Helmuth Gröger, Johann Joachim Kaendler. Dresden, 1956. Peter W Meister, Franz Adrian Dreier, Figürliche Keramik aus zwei Jahrtausenden. Kat Museum für Kunsthandwerk, Frankfurt. Frankfurt 1964, Nr. 90. Rainer Rückert, Meißener Porzellan, 1710-1810. Kat. Ausst. Bayerisches Nationalmuseum München. München 1966. Stefan Bursche, Tafelzier des Barock. München 1974, Abb. 300. "Tafelaufsatz, Der Parnass", Auswahlkatalog, Museum für Kunsthandwerk (Frankfurt am Main, Germany), 1987, pp. 86-87. Alfred Ziffer, ‘Meissener Porzellanplastik für fürstliches Interieur und Zeremoniell’, Keramos, Issue 241/242, pp. 29–52. MEISSEN The production of Meissen porcelain began in 1710 at the manufactory at Meissen...