Gilt Furniture

Chic Louis XVI style neoclassical commode by Maison Jansen. Elegant and simple. The last picture gives an example of how this commode could look in situ.

A fine French Empire Revival 19th century giltwood and Gesso carved figural console table with matching mirror. The "D" shaped top console raised by a pair of seated winged sphinxes ...

Antique German Very Large Painted Porcelain Blue Gold Vase KPM German, c. 1840 Height 170cm, diameter 65cm This remarkable and very large porcelain vase was created by the renowned ...

A gorgeous pair of 19th-Century French Empire gilded bronze three arm light wall sconces, circa 1850-1870. These beautiful sconces have a lovely gilt patina with foliate and floral d...

A sun-drenched provençal landscape is brought vividly to life in this large 20th century post- impressionist style oil-on-canvas. Undulating hills in the distance provide an evocativ...

An English Georgian ebonized chinoiserie chest-of-drawers from the early 19th century with gilt and black lacquered accents and later added stone top. Created in England during the f...

Experience the beauty and elegance of this early 20th-century North American white porcelain tankard from Belleek. This stunning piece is meticulously crafted and hand-painted with v...

An exceptional, fine and impressive, rare antique German silver quart tankard; an addition to our range of collectable 17th century silverware This exceptional antique German silver tankard has a plain tapering cylindrical form onto a circular shaped domed foot. The surface of this antique tankard is embellished with impressive partial gilt chased scrolling decoration accented with central fruit and floral sprays in addition to undulating leaf designs, all on a matte background. The upper rim of this lady's tankard is encompassed with an applied moulded border. This rare silver tankard retains the original domed cover encircled with further chased scrolling ornamentation, reflecting that of the body and features a cast figural thumbpiece. The plain domed portion of the cover is surmounted with the original and impressive cast tiered finial. The impressive cylindrical hinge is ornamented with further matte textures. This antique German tankard...

A very fine French 19th century Louis XV style three-piece giltwood carved and silk Aubusson tapestry three-piece salon suite, comprising of a settee and two fauteuils (armchairs), the Aubusson silk...

Stunning 19th century Napoleon III French black lacquered Chinoiserie mirror, acquired from the estate of descendants of Jules Verne’s...

This elegant 19th-century wall mirror was crafted in France circa 1860, in the timeless Louis Philippe style. Rectangular in shape with rounded upper corners, the mirror is framed in...

An enchanting antique Louis Philippe French mirror, dating to the late 19th century. The small full length mirror features a refined black frame with a soft gold trim and a gracefull...

Stroker, Bram. Dracula. New York: Grosset & Dunlap, [1927]. First Grosset & Dunlap Edition. 8ov. Presented in original orange cloth boards, stamped in black, and the original pictorial dust jacket. With a new archival ¼ leather and cloth clamshell case. Presented is the first Grosset & Dunlay edition of Bram Stroker’s Dracula, published in 1927. The book is presented in its original orange cloth boards, stamped in black, and the original pictorial dust jacket. The book has a new archival quarter leather and cloth clamshell case, with raised bands, gilt titles and tooling to the spine, and an inlay of the dust jacket design on the front. Dracula is a gothic horror novel written by Irish author Bram Stoker. The story follows the efforts of Professor Abraham Van Helsing and others to defeat the vampire Count...

An English Chinoiserie cabinet on stand from the late 19th century with gilded décor. This stunning English Chinoiserie cabinet, with its d...

Coco Chanel coffee table, France, gold-plated, 1970s. Stunning sculptural gilt metal sheaf of wheat table with round glass top. Styled after the famous Coco Chanel tables this origi...

A Charming Whimsical French 19th-20th Century 'Belle Époque' Gilt-Wood and Gesso Carved Triptych Figural Pier Mirrors. The scrolled Rococo floral, acan...

We present you with this set of exquisite cassolettes from the Napoleon III period. Crafted from Pyrenean marble, specifically the Bénou Breccia kind, and enhanced with gilded bronze...

Introducing a stunning Mid 20th Century French Limoges porcelain jardiniere and base set. This exquisite ensemble showcases matte porcelain decorated with hand-painted flowers in shades of purple, white, and yellow, complemented by lush green leaves. Delicate gold accents and a gold rim add an elegant touch to the piece. The jardiniere features two ornate gold lion head handles on either side, enhancing its sophisticated and luxurious appearance. Both the jardiniere and base set are in great condition, free of chips, cracks, or repairs, with only minor age-related wear. The jardiniere measures 14.5 inches in length, 10.75 inches in width, and 8 inches in height, while the ornate base stands at 9.25 inches long, 9.25 inches wide, and 3.5 inches high. The set bears the maker's mark and stamp underneath, signifying its authenticity and fine craftsmanship. This elegant Limoges jardiniere...

A Very Fine French 19th Century Gilt-Bronze Figural Mantel Clock, Horloge à Poser, by Henri Picard and Fedinand Barbedienne - ‘F. Barbédienne & Cie. / A Paris’, after the model by É...

Large Scale Chinoiserie Painting, attributed to Maitland Smith, American, circa 1980s. It measures an impressive 66“ height x 54“ width. It has an overall craquelure finish as origin...

Artists in ancient Greece and Rome depicted dolphins as distorted, more fish-like creatures, and this representation was carried over by future artisans well into the 20th century. T...

An ebonised and gilt chaise longue designed by Owen Jones and manufactured by Jackson & Graham. England, London, circa 1870-73. Exceptionally original, untouched and showing no res...

We are offering 3 Classic Mid-Century Leather Bookends. These handcrafted bookends with Greek Key gold embossing would certainly accentuate your home on a bookcase, table, or desk. ...

Ferdinand Wagner II (German, 1847-1927) A very fine and charming triptych group of three oil on canvas laid on board titled "An Allegory to Spring" each panel depicting different playful and joyous scenes of putti and a cherubs reminiscent of spring, love and peace. The center panel depicting a seated putto, crowned with flowers, a standing putto behind him holding a sack of arrows and a seated cherub facing him next to a watchful peace dove on top resting of a flower bouquet. The left panel depicting a seated putto next to a standing putto with a freshly harvested apple. The right side panel depicting a standing cherub holding a fig branches with leaves. All three-in-one panels within individually carved giltwood frames. All panels signed at the lower left: Ferd. Wagner, circa 1890. 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...

French Gilt Tole Hexagonal Pagoda Birdcage with Bells  France, 1900s This exquisite French gilt-tone hexagonal pagoda birdcage, dating from the early 1900s, is a beautifully made an...

Pair of French Louis XV (19th-20th Century) style five-light gilt bronze candelabra with foliate detail throughout.      

A large and impressive Japanese Imari porcelain fluted charger with scalloped rim, signed Kaji(chu?), Edo to Meiji Period, mid 19th century, Japan. The magnificent Japanese Imari charger measures 25" in diameter, and is decorated in the typical imari palette of underglaze blue with overglaze red, orange, blue, and green enamels with gilt highlights. The large charger also features fluted sides and a scalloped gilt rim. The design of the charger is centered on a central floral medallion with three large chrysanthemum blossoms and vegetal scrolls. Radiating out from the central medallion are various brocade patterned sections that roughly follow the shape of the fluting. Some larger sections feature images of cranes and minogame (turtles with long tails), both symbols of longevity, while other feature dragons and phoenix, symbols of authority and power. Four large reserves depict charming scenes of a scholar and his students within a bamboo grove having discourse and examining scrolls. The back of the charger decorated in underglaze blue with bold floral and vegetal scrolls. With a three character inscription in underglaze blue reading Kaji(chu?) Sei. The charger is fitted with an antique metal hanger...

A Fine Italian 19th Century Oil Painting on Canvas "La Madonna della Seggiola" after Raphael (Raffaello Sanzio da Urbino 1483-1520). The circular painted canvas depicting a seated Madonna holding an infant Jesus Christ next to a child Saint John the Baptist, all within a massive carved two-tone gilt wood, gilt-patinated and gesso frame, which is identical to the frame on Raphael's original artwork. This painting is a 19th Century copy of Raphael's Madonna della Seggiola painted in 1514 and currently exhibited and part of the permanent collection at the Palazzo Pitti, Galleria Palatina, Florence, Italy. The bodies of the Virgin, Christ, and the boy Baptist fill the whole picture. The tender, natural looking embrace of the Mother and Child, and the harmonious grouping of the figures in the round, have made this one of Raphael's most popular Madonnas. The isolated chair leg is reminiscent of papal furniture, which has led to the assumption that Leo X himself commissioned the painting. Circa: 1890-1900. Subject: Religious painting Painting diameter: 28 inches (71.1 cm) Frame height: 55 1/8 inches (140 cm) Frame width: 46 inches (116.8 cm) Frame depth: 5 1/8 inches (13 cm) Raffaello Sanzio da Urbino (Italian, March 28 or April 6, 1483 - April 6, 1520), known as Raphael, was an Italian painter and architect of the High Renaissance. His work is admired for its clarity of form, ease of composition, and visual achievement of the Neoplatonic ideal of human grandeur. Together with Michelangelo and Leonardo da Vinci, he forms the traditional trinity of great masters of that period. Raphael was enormously productive, running an unusually large workshop and, despite his death at 37, leaving a large body of work. Many of his works are found in the Vatican Palace, where the frescoed Raphael Rooms were the central, and the largest, work of his career. The best known work is The School of Athens in the Vatican Stanza della Segnatura. After his early years in Rome much of his work was executed by his workshop from his drawings, with considerable loss of quality. He was extremely influential in his lifetime, though outside Rome his work was mostly known from his collaborative printmaking. After his death, the influence of his great rival Michelangelo was more widespread until the 18th and 19th centuries, when Raphael's more serene and harmonious qualities were again regarded as the highest models. His career falls naturally into three phases and three styles, first described by Giorgio Vasari: his early years in Umbria, then a period of about four years (1504–1508) absorbing the artistic traditions of Florence, followed by his last hectic and triumphant twelve years in Rome, working for two Popes and their close associates. Raphael was born in the small but artistically significant central Italian city of Urbino in the Marche region, where his father Giovanni Santi was court painter to the Duke. The reputation of the court had been established by Federico III da Montefeltro, a highly successful condottiere who had been created Duke of Urbino by the Pope - Urbino formed part of the Papal States - and who died the year before Raphael was born. The emphasis of Federico's court was rather more literary than artistic, but Giovanni Santi was a poet of sorts as well as a painter, and had written a rhymed chronicle of the life of Federico, and both wrote the texts and produced the decor for masque-like court entertainments. His poem to Federico shows him as keen to show awareness of the most advanced North Italian painters, and Early Netherlandish artists as well. In the very small court of Urbino he was probably more integrated into the central circle of the ruling family than most court painters. Federico was succeeded by his son Guidobaldo da Montefeltro, who married Elisabetta Gonzaga, daughter of the ruler of Mantua, the most brilliant of the smaller Italian courts for both music and the visual arts. Under them, the court continued as a centre for literary culture. Growing up in the circle of this small court gave Raphael the excellent manners and social skills stressed by Vasari. Court life in Urbino at just after this period was to become set as the model of the virtues of the Italian humanist court through Baldassare Castiglione's depiction of it in his classic work The Book of the Courtier, published in 1528. Castiglione moved to Urbino in 1504, when Raphael was no longer based there but frequently visited, and they became good friends. He became close to other regular visitors to the court: Pietro Bibbiena and Pietro Bembo, both later cardinals, were already becoming well known as writers, and would be in Rome during Raphael's period there. Raphael mixed easily in the highest circles throughout his life, one of the factors that tended to give a misleading impression of effortlessness to his career. He did not receive a full humanistic education however; it is unclear how easily he read Latin. Early Life and Works His mother Màgia died in 1491 when Raphael was eight, followed on August 1, 1494 by his father, who had already remarried. Raphael was thus orphaned at eleven; his formal guardian became his only paternal uncle Bartolomeo, a priest, who subsequently engaged in litigation with his stepmother. He probably continued to live with his stepmother when not staying as an apprentice with a master. He had already shown talent, according to Vasari, who says that Raphael had been "a great help to his father". A self-portrait drawing from his teenage years shows his precocity. His father's workshop continued and, probably together with his stepmother, Raphael evidently played a part in managing it from a very early age. In Urbino, he came into contact with the works of Paolo Uccello, previously the court painter (d. 1475), and Luca Signorelli, who until 1498 was based in nearby Città di Castello. According to Vasari, his father placed him in the workshop of the Umbrian master Pietro Perugino as an apprentice "despite the tears of his mother". The evidence of an apprenticeship comes only from Vasari and another source, and has been disputed—eight was very early for an apprenticeship to begin. An alternative theory is that he received at least some training from Timoteo Viti, who acted as court painter in Urbino from 1495.Most modern historians agree that Raphael at least worked as an assistant to Perugino from around 1500; the influence of Perugino on Raphael's early work is very clear: "probably no other pupil of genius has ever absorbed so much of his master's teaching as Raphael did", according to Wölfflin. Vasari wrote that it was impossible to distinguish between their hands at this period, but many modern art historians claim to do better and detect his hand in specific areas of works by Perugino or his workshop. Apart from stylistic closeness, their techniques are very similar as well, for example having paint applied thickly, using an oil varnish medium, in shadows and darker garments, but very thinly on flesh areas. An excess of resin in the varnish often causes cracking of areas of paint in the works of both masters. The Perugino workshop was active in both Perugia and Florence, perhaps maintaining two permanent branches. Raphael is described as a "master", that is to say fully trained, in December 1500. His first documented work was the Baronci altarpiece for the church of Saint Nicholas of Tolentino in Città di Castello, a town halfway between Perugia and Urbino. Evangelista da Pian di Meleto, who had worked for his father, was also named in the commission. It was commissioned in 1500 and finished in 1501; now only some cut sections and a preparatory drawing remain. In the following years he painted works for other churches there, including the Mond Crucifixion (about 1503) and the Brera Wedding of the Virgin (1504), and for Perugia, such as the Oddi Altarpiece. He very probably also visited Florence in this period. These are large works, some in fresco, where Raphael confidently marshals his compositions in the somewhat static style of Perugino. He also painted many small and exquisite cabinet paintings in these years, probably mostly for the connoisseurs in the Urbino court, like the Three Graces and St. Michael, and he began to paint Madonnas and portraits. In 1502 he went to Siena at the invitation of another pupil of Perugino, Pinturicchio, "being a friend of Raphael and knowing him to be a draughtsman of the highest quality" to help with the cartoons, and very likely the designs, for a fresco series in the Piccolomini Library in Siena Cathedral. He was evidently already much in demand even at this early stage in his career. Influence of Florence Raphael led a "nomadic" life, working in various centres in Northern Italy, but spent a good deal of time in Florence, perhaps from about 1504. Although there is traditional reference to a "Florentine period...

Elegant Pair of Karl Johan Candlesticks in Gilt and Dark-Patinated Brass, Sweden c. 1820s A beautiful pair of Swedish candlesticks from the Karl Johan period — the Swedish interpret...

Custom pair of giltwood hand carved sconces. Sconces are gilded using the highest quality gold leaf. They may also be sold individually. Lead Time for custom made is 8-10 weeks.

A palatial and museum quality Italian 19th century Florentine Rococo giltwood carved mirror frame. The ornately carved frame with scrolls and acan...

This 19th-century Antique French Louis Philippe Gilt Wall Mirror possesses timeless elegance. Crafted in the Louis Philippe style, it showcases intricate gilt detailing along the fra...

A vintage decorative Rosone N.6 large plate or charger designed and manufactured by the Italian master of playful and surreal self-expression Piero Fo...

A wonderful pair of Baguès style two-arm gold gilt rock crystal bird urn, flower and leaf form petite sconces. Each rewire with new candelabra sockets.

Offered is an absolutely stunning, pair of 1910s wall consoles or brackets. Minor patina gives this piece a classy statement. Made of terracotta. Use just as a decorative shelf or pu...

A pair of French Art Deco Curtain Tiebacks, gilt, possibly bronze.

Empire period portico clock in white marble and gilt bronze, 19th century This Empire period clock (circa 1800-1810) is composed of a marble terrace topped by two flat columns decor...

Note: We highly recommend shipping through 1stDibs for its cost effectiveness, full insurance coverage, and reliable handling. While standard parcel services are an option, the defau...

Set of etchings of views of a Greek ceremonial klismos chair. In his fifties, G.B. Piranesi was interested in archaeology and studied in Southern Ita...

This listing is for a beautiful Austrian gilt metal Tussie mussie (flower holder) with embossed grapes and vine leaves and a finger ring handle, circa 1860s. Elaborately applied, res...

A late 19th-century Chinese Qing Dynasty altar chair, exquisitely handcrafted from hardwood and finished in a bold imperial red lacquer. This striking piece exemplifies the fine craftsmanship and technical woodworking skills for which Chinese artisans were renowned. Constructed using traditional mortise and tenon joinery—an advanced technique that requires no nails or glue—the chair demonstrates remarkable stability and artistry, hallmarks of Qing Dynasty furniture. The chair’s centre back splat features parcel-gilt cartouche decorations, each meticulously hand-carved and gilded with symbolic Chinese motifs and a central figural scene. The rich red lacquer and gilding reflect the traditional colours associated with good fortune and reverence in Chinese culture. Compact in stature, this antique altar chair...

A striking large French Directoire mirror with a scalloped gilded frame, combining neoclassical symmetry with subtle curves—offering understated elegance and a luminous focal point.

The original design of the three rocks tables was inspired by the Autumnal landscape with fallen leaves in burned tones. These tables are highly customized designs. Beyond the origi...

Italian elegant Art Deco mirrored three drowers vanity or dressing table by Gaetano Borsani restored and wax polished. Legs in ebonized walnut, flat surfaces in walnut veneer, edges ...

A gold-tone serving piece with bamboo-esque handle, circa 1960s. Piece is stainless steel (as marked) covered in gold gilt with bamboo-style handle and a serrated edge for cutting/se...

A charming frame in both gold and silver gilt from France that is suitable for most style artwork including prints, watercolors as well as oil on board paintings. This frame certainl...

A very fine French mid-19th century Louis XV style gilt bronze-mounted tulipwood, kingwood and fruitwood marquetry bombé two-drawer commode with marble top, by Bourdet, Paris, After ...

Exquisite contemporary Japanese decorative porcelain vase, intricately gilded and hand painted in shades of puple, blue and pink on an ovoid shape body with an attractive scalloped ...

A stunning original antique French gilt bronze clock by Samuel Marti. Beautifully made in he Rococo style, formed of sinuous curves of acanthus and scrolls, pieced to allow the pendu...

A very fine and palatial Italian 18th century Rococo style giltwood carved console table with a castracane marble top of serpentine outline, the friez...

This antique mantel mirror was crafted in southern France in the mid-19th century. The mirror features quarter-round top corners, characteristic...

An early Italian 18th century polychromed and part gilt mirror frame. Carved with Cherubs and florals, and set with a rectangular mirror. Beautiful weathering in the mirror glass. ...

"There is only one happiness in this life, to love and be loved" - George Sand Fine Louis XVI style antique French gilt bronze photograph frame, the crest with an ornate wreath surrounding the head of a lion...

Transport yourself to the grandeur of the 19th century with this exquisite French Marble and Bronze Figural Mantel Clock. A true masterpiece of artistry and craftsmanship, this clock...

A very fine and palatial French 19th century Louis XV style giltwood carved five-piece salon suite, comprising of a canapé (Settee) and four fauteuils à la reine (Armchairs), all of ...

Mid-Century Modern iron sunburst oval wall mirror with leafed frame and gold leaf finish, Spain, 1950s. This eye-catching leafed sunburst mirror has a very detailed frame, entirely m...

Unique dinner service set by Raynaud & Co. Limoges, Dorure polie à l'Agate Large dinner service set by Raynaud & Co. Limoges, 1960s Raynaud es...

An old French Directory period, hand-carved trumeau mirror in gilded wood and painted in green, and its base in off-white. The mirror glass is origina...

A very fine French 19th century Louis XV style gilt bronze and white marble figural mantel clock. The finely chased ormolu body, with its original two-tone mercury gilt, centered with a circular enameled porcelain clock face with Roman and Arabic numeral dials and inscribed 'A. Thomas - Fabt de Bronze - 56, Rue de Turenne - Paris', surmounted with a pair of playful seated cherubs amidst clouds and wreaths, the case crowned with a figure of a Gallic Rooster (Coq Gaulois...

Unique Italian 18th century hand painted Louis XV "Cassettone" Marchigiano from the Center of Italy region of Marche Italy, circa 1740. Important, unique ...