Gilt Furniture

A fine & rare antique 19th Century Ottoman Tombak (Gilt Copper) Nargile or Hookah pipe, Turkey, circa 1850. A nagile or hookah pipe's history dates back...

A miniature travel clock designed by R. Vachet Paris. Exceptional and very rare miniature travel-carriage clock, made in Paris France at the atelier of R. Vachet. This fabulous litt...

I am offering you this exquisite set of thirteen Copeland Spode dinner plates which have a gold border and white enamel jeweling on a white porcelain body. They definitely look like simple elegance, and they would look beautiful with any dinnerware you already own. They were made exclusively for the luxury brand of T. Goode of London, who had many notable customers like Queen Victoria and the Tsar of...

A fine pair of Italian 19th century Rococo style giltwood carved armchairs; the arched upholstered paneled backs with foliate scroll cresting and similar borders, having padded arm s...

This vintage ceiling lamp features twelve milk glass balls with E14 bulb sockets and a gilded frame. Very elegant and decorative. Light bulbs are not included. The hanging lamp ne...

A fine antique English lustreware porcelain bowl. By Wedgwood. Designed by Daisy Makeig-Jones. With a mottled blue exterior and mottled celadon interior. Decorated throughout wit...

Radiating timeless charm, this mid-century French sunburst mirror is crafted from hand-carved wood with a warm gilt finish. Measuring 21.5 inches in diameter, the piece features shar...

A Wonderful French Empire Dore Bronze Regency Petite Five Candelabra Light Chandelier, This Fixture Comes With Shades That Maybe Removed

This English oil on canvas painting, dated 1884, captures the quiet elegance of a white horse standing in a dimly lit stable interior. Painted with rich tonal contrasts and an eye fo...

Onyx & Champleve Enamel From our Decorative collection, we are delighted to offer this pair of French Champleve and Onyx Urns attributed to Barbedienne. The Urns of typical form wi...

A half-length portrait of a young lady, her costume à la Turque and wearing a double strand of large and lustrous pearls. She is deep in somewhat pensive thought, her right hand resting lightly against her chin, her left hand gently clasping the neck of a pottery flask...

A large and very fine 19th century enameled glass casket or glove box. Typical of the enamel treatments by Ludwig Moser and reminiscent of Baccarat's Japonisme works. Likely Bohemian, the blue glass...

Loetz Pampas Glass And Metal Mounted Vase Czech Republic Circa 1900 Unmarked Height: 7.5 Inches, handle to handle 8.25 Inches Condition: Very good with wear commensurate of age and use with some loss to gilt, The Loetz glassworks existed in Klostermuhle, Austria, for just over a hundred years, starting from 1840. But its heyday was during the life-time of Max Ritter Von Spaun, grandson of the original Johann Loetz who had founded the company. Von Spaun took over the company in 1879 and ran it until 1908, a year before his death. He was assisted by Eduard Prochaska, his technical specialist, and together they invented, designed and produced a whole series of wonderful new types of glass, taking out several patents and winning awards at all the major world exhibitions during the 1890's and the first years of the new century. The Loetz company were amongst the leaders in Art Nouveau design and expecially in irridescent art glass. "Papillon" glass, like the vase on the left, is sometimes known today as "oil spot" glass. Another favourite Loetz colouring was irridized glass with pulled trails called "Phenomenon" glass. There were irridized vases with ribbons of metallic colours winding over the surface, and many spectacular designs with applied trails of beautiful colours, or simply pulled out of the body of the glass to form handles or decoration. About 1900 the company started collaborating with outside designers, and some great artists designed pieces for Lotz, notably Joseph Hofmann, Koloman Moser, Maria Kirchner, and Hofstatter. In 1908 Loetz was taken over by Max Von Spaun's son, also called Max, and although it struggled financially (going through bankruptcy in 1911 and again in 1931) there were several great designers whose work was produced by Loetz during those years and through the art deco period. These included Adolf Beckert...

Table golden bronze lamp by Harvard Student, patent Wild & Wessel, aladino brass golden. Harvard German student lamp, Patent Wild & Wessel, Berlin....

An exquisite French 19th century giltwood armchair. This one-of-a-kind piece is the perfect bridge between new and old school styles, bl...

Handcrafted Moroccan Moorish gilt glass perfume bottle. Hand blown glass perfume bottle gilded with 24-karat gold hand painted designs...

A circa 1960's Italian hammered and forged stylised moderne metal chandelier with six candelabra lights and original patina. Measurements: Diameter: 42" Drop: 12"

An outstanding quality antique gilded bronze & Sevres porcelain French 3 piece, 8 day clock garniture with candelabra, by Brocot & Delettrez, Paris, circa 1870. The clock with an 'egg' shaped urn made of cobalt blue Sevres porcelain with a hand-painted panel with a neo-classical beauty and a cupid, the rear is painted with gilt birds & floral decoration. The urn with gilt bronze handles to the sides held in the mouths of lion's masks, the clock below also with sumptuously decorated with gilded cobalt porcelain panels, the clock dial with black Roman numerals & is finely painted with two horses and a chariot with a putti falling out of the chariot. The clock has two winding arbors one for the 8 day time wind the other for a chime, the clock chimes the hours on a soft delicate sounding bell, the clock is in full working order and was recently professionally cleaned. The clock is complemented with a pair of gilt bronze & cobalt blue Sevres porcelain four branch vasiform candelabras, decorated with oval panels to the front with putti & Neoclassical maidens, the back panels finely painted with birds, each candelabra is in two sections and raised on gilt bronze bases with corbel brackets & acanthus leaf feet. The bronze casting is very likely by the Barbedienne Foundry in Paris, as the quality is outstanding, the clock is stamped "BD" for Achille Brocot (1817-1878) and Jean-Baptiste Delettrez (1816-1887), they were two of the most important French clock makers of the mid to late 19th century, please see some biography below. The clock is mechanically & cosmetically in excellent condition, and was recently overhauled by a clock-smith, the porcelain & ormolu are also in excellent condition, one of the very best investment quality gilt-bronze & Sevres porcelain clock garnitures by the top French makers of the period, circa 1870. This garniture will be professionally crated for shipping. Delettrez and Achille Brocot, son of the respected clockmaker Louis-Gabriel Brocot, established the clockmaking company "Brocot et Delettrez" in Paris on 20 October 1851, with premises at 62 Rue Charlot Paris. Jean-Baptiste Delettrez worked alongside Achille Brocot for several years and their clock movements are considered to be the most effective made during the late 19th century. Their specialty was a range of clocks based on the innovations of Brocot père and his other son Antoine, but generally of Achille's greatly advanced original design, some having a unique single-arm double-wheel escapement, some having a temperature-compensated pendulum, some having two dials, one of which showed the time and the other which showed a calendar and often other information such as phases of the moon, times of sunrise & sunset in Paris, etc. The firm was awarded a 1st class prize at the Paris World Exposition of 1857 for a commercial clock...

A fine French 19th-20th century Louis XVI style gilt bronze and cut-glass beaded Cascade ten-light chandelier with garlands and a crown top with a floral canopy, circa 1900, Paris. ...

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...

Antique Louis-Philippe French style giltwood mirror, from the 1930's. Antique frame with pearls, around the glass mirror, decorated with foliages and fruits stylised linked by 3 line...

Extraordinary, large gilt wall mirror from the 1950s in Italy. This absolutely amazing looking mid century wall mirror impresses with its broad, very special handcarved frame adorned...

Pair of Italian Hollywood Regency Wheat Sheaf Chairs, by S. Salvadori S. Salvadori - Firenze A stunning pair of Italian Hollywood Regency Wheat Sh...

A beautiful antique lapis lazuli & gilt metal miniature casket, set on four ball feet. Palais Royal Manner. French, circa 1880. The semi-precious lap...

French antique giltwood mirror, Louis-philippe style with leaves ornaments and pearls. Re-gilding to the patinated leaf. Modern glass mirror. Antique frame width: 8 cm.

Elegant Regency Revival lounge chair in Forest green velvet, believed to be American, circa 1980s, possibly much earlier. This chair was completely restored at some point, refinished...

An elegant Gustavian crystal and gilt brass Swedish chandelier with two fountain-like tiers of faceted crystals over a central drop to an elaborate brass ring decorated with Egyptian...

Antique Italian Silver Pitcher, GLASS CLARET JUG Decorative Crystal Flask Silver plated Head 1880s with a bird & human mask mounted scroll handle, the body with etched leaves decorat...

A Wonderful Chinoiserie Pagoda Style Octagonal Gold Gilt Lantern Pendant Light Fixture With 3 Candelabra Internal Lights

This large pot-pourri or covered vase stands over 20 inches tall and about 15 inches wide across the handles - very substantial. It closely resembles an original early Edo pot-pour...

Fine set of four wooden columns, entirely carved and gilded by hand, dating from the 16th century and of Spanish origin. The shaft has a two-level zig-zag carved pattern, (fishbone),...

This large flush mount is composed of one layer of gilt metal leaves topped by a raised crown. The lens is frosted and in perfect condition. The light has 2 bulbs 40 watts each and i...

These stunning sconces are in gilt iron with 2 arms. American wired They can fit with modern or traditional interior home. the price of 2100 dollars is for the pair.

A circa 1930's French hammered iron "sunburst" light fixture with fleur-de-lis detail and two interior lights. Measurements: Height/Drop: 8" Diameter: 23"

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...

An attractive carved wood figure of the Bodhisattva Avalokiteshvara, known as Guanyin in China, late Ming Dynasty, early 17th century, China. Guanyi...

Incredible vintage Hollywood Regency bar cart on wheels featuring brass handles and casters. This rolling cart features all original tortoise gold gilded glass. Wonderful addition to...

Spanish Colonial style gilt wood oval sunburst mirror with mirror insets in the frame, 1950-1960 This eye-catching sunburst mirror was manufactured at the Midcentury period in the st...

The andirons from the French Regency period, crafted in gilt bronze, exhibit a striking blend of elegance and opulence in the Egyptian Revival style. Each andiron features a meticulo...

A very fine French 19th century Louis XV style mahogany and finely chased ormolu mounted "Pietra Dura" top gueridon side table. The "Pietra Dura" inlaid marble top in the form of wre...

A beautiful antique Khmer hand carved wooden Buddhist figure. Originating in Cambodia, Laos, Vietnam or Thailand, 19th century or earlier, the exceptional Southeast Asian antique...

DESCRIPTION: WROUGHT IRON FLOOR LAMP BY GILBERT POILLERAT, Circa 1940, France Floor lamp by Gilbert Poillerat in patinated and gilded wrought iron, with a cylindrical shaft decorated...

Gilded Cornice Del 1700, splendid Italian Louis XIV style mirror in carved wood, rectangular shape centered by modern mirror, richly carved with deep scrollwork decorated with folia...

For FULL item description click on More Details below. Shipping Quote Information The shipping quote stated in the listing was from 1st Dibs and they normally set all the costs and ...

Large Starburst Mirror featuring a convex 16" diameter mirror set in a gilt iron and hardwood backed frame. The entire mirror is clad in hand-applied gold leaf which has an antique l...

A circa 1960's French crackled glass light fixture with 2 interior lights. Measurements: Diameter: 10.5″ Current drop: 22″

This unique small Spanish side or drinks table was recently hand crafted by skilled European artisans using traditional iron working techniques. It features a stem with a central dec...

Exclusive Mid-Century Gilded Bronze Chandelier with Crystals and Palm Leaf Design – Ø 98 cm (38.6 inch) A spectacular, large and very unique antique French Hollywood Regency gilt br...

A petite French gold gilt mirror from the 1800’s is hand carved with impressive floral carvings in all four corners. This symmetrical frame has a lustrous gilded finish, and holds it...

A large and magnificent Chinese famille verte enameled porcelain large dish or charger, Qing Dynasty, Kangxi Period (1662 - 1722), circa 1700, China. The shallow, shaped dish of fo...

Pair of Antique French Pendant Baccarat Style Crystal Basket Chandelier Dimensions: Diameter 11.03 in/28 cm Height 31.5 in (chain = 11.81) / 80 cm (chain = 30 cm) One light bulbs E27...

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...

Rococo antique gold leaf mirror attributed to La Barge Italy.

Exceptional 19th century, French 'Three Graces' annular dial clock, bronze and marble clock, with Roi-de-bleu enamel globe surmounted by Cupid. The ...

This is a remarkable 19th century lacquered sewing box with multiple compartments on the interior. The exterior is decorated in elaborate black and gilded motifs including flowers, f...

19th Century, French Régence Style Gilt Bronze Chandelier Dimensions: Diameter 95 cm x H 136 cm. Chandelier H 92 cm, Chain H 30 cm, Ceiling cup H 14 cm This eight-light chandelier ...

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...

This finely executed portrait is unsigned and presumed to have originated from Italy and date to approximately 1900 and done in a Renaissance style. The portrait is hand-painted on a...

A pair of circa 1950's French molded glass and gilt iron sconces with shades. Measurements: Height: 20" Width: 16" Depth: 5"

Pair of blue peacocks sculptures, by Waylande Gregory USA, Circa 1950s This rare pair of blue peacock sculptures by Waylande Gregory, created in the USA circa 1950s, showcases the ar...