Gilt Furniture

Orderly and architectural, the silver-gilt frame of this original Louis Philippe mirror is meticulously inscribed with a coin-edge pattern along the bullnose of the frame. The satin ...

A CARTIER 'PASHA' DUAL TIME ZONE CALENDAR DESK CLOCK WITH MOON PHASE, CIRCA 1995 jewelled quartz movement, frosted silver signed dial with subsidiary dials for the day, date and seco...

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...

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...

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...

A set of 4 circa 1940’s English Neoclassic style gilt bronze lantern with an interior six-light cluster. Sold individually. Measurements: Minimum drop: 40″ Diameter: 19″

A beautiful 19th century French mirror Louis-Philippe with its original antique glass and silver leaf gilding. The frame is etched with dashes motif and has a beaded edge. The mirror...

Rococo antique gold leaf mirror attributed to La Barge Italy.

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...

Two Gilt Italian Floral sheaf of wheat five-light chandeliers Coco Chanel Hollywood Regency in style, this chandelier inspired a Coco Chanel with sheaves of wheat has five branches ...

A master-level painting surrounded by a thick and detailed gold leaf frame, this large oval oil on canvas has an impressive scale for a nature morte (still-life) painting. The painting, which dates to circa 1850, is by an unknown, yet extremely talented French artist. In stark contrast to the dark gray background, the subject of the painting is a brightly colored floral bouquet. The vibrant flowers (blue, red, yellow, pink, and white) reside in a brown woven basket that sits atop a stone baluster railing. A cluster of darkly colored grapes is strewn across the top of the railing, next to the basket, as two butterflies flutter above the bouquet. If you look closely, you will even see a third butterfly perched on one of the large green leaves that accompany the irises, carnations, and sunflowers. The equally impressive original frame is adorned with rings of beading, foliate rinceaux, and spiral fluting, with a deep convex molding carved with additional fluting. In 19th-century France, an entire school devoted to floral still-life paintings emerged, located in Lyon, which was the capital of floral design. Although originally still-life art was classified as unimportant, acceptance by art historians of the 20th century elevated the public opinion of nature mortes. A painting such as our large and striking oval floral...

Vintage French Louis XIV Style Gilt Wood Console Large scale French Louis XIV style gilded console with faux marble top. This exceptional console is characterized by its classical a...

Large Ornate French Rococo Style Carved Ornate Gilt Wood Frame. This gorgeous hand-crafted frame has lots of charming details including shell motifs and cross hatch features. This su...

Very rare singing bird box by Jacques Bruguier, made in Geneva circa 1850. When activated, the lid opens and a finely crafted bird rises from a beautifully pierced and engraved grill...

Venetian daybed of hand-carved wood with silver gilt accents on a Venetian grey blue ground. Ornate Rococo carving, highlighted by silver gilding and l...

A French carved wood bergere armchair with a gilt finish. This large bergere dates from the late 19th century and it beautifully carved throughout. It is upholstered in a fine fabr...

This exquisite antique Adams-style hand-painted satinwood sideboard, also ideal as a credenza, combines timeless elegance with refined craftsmanship. Shaped in a graceful demilune, i...

"Japon" Imari service, produced in 1876 by the Creil & Montereau pottery, shows the great success of Japonism in tableware production, like the Bracquemo...

Splendid oil portrait on canvas of Count Bailiff Ludovico Caprara (1731-1812), as indicated by the writing inside the "tabula ansata," at the bottom of the frame of the painting. The...

Mid-19th century pair of Chinese export porcelain rose medallion vases. Handsome with dragon mounted shoulders & foo lion handles. Fine identical decoration on all sides. Foo lion on...

An exaggerated serpentine shaped wall console in the Venetian manner in cream paint with gilt details. The frieze with a gilt ruffled center motif. Raised on tall scrolled legs with...

A set of four circa 1960's Italian gilt metal sconces with clear shield glass bent shades. Sold per pair. Measurements: Height: 14" Depth: 5.5" Width/L...

Hollywood Regency pair of Italian etagere shelves or displays featuring a gilded steel finish. Mid-century pieces constructed from flat bar steel and steel tubes with inset flush mou...

The gilt finish faux bamboo butler style coffee table seamlessly blends elegance and functionality in a captivating design. Crafted with attention to detail, this coffee table featur...

An exceptional 19th-century Burmese Kammavaca manuscript, composed of 14 lacquered palm-leaf-style panels, each meticulously decorated in orange and ...

French Empire Style Egyptianesque Gilt Metal Mounted Mahogany and Green Marble Pedestal, 20th century, octagonal top above a tapering column mounted with winged caryatids on gilt met...

A gilt bronze poudrier box with cast poem on surface by Parisian art jeweler Line Vautrin (1913-1997) circa 1940s. The poem "Les 4 ages de la Femme" was an old French lyrical poem th...

A wonderful Italian 1950's gold gilt iron and crystal art glass fruit Murano decorated 8 candelabra light chandelier. This beautiful chandelier consists of a gracefully scrolled gil...

Large Liturgical Chalice in sterling silver. The base is finely embossed with the face of Christ, grapes, vine leaves and ears. The workmanship is h...

Pearl Service also known as Bavarian Royal Service. A dinner service for 12 people, by the Royal Nymphenburg porcelain factory, designed circa 1792 by court sculptor Dominik Aulicze...

An exceptional antique Austian hand-painted porcelain chocolate pot and stand by the renowned Vienna factory and dating from the 19th century. ...

An exceptional and truly outstanding pair of doors from the Lucca, Italy. Wonderfully constructed from polychromed and gilt wood - retaining their original mercury mirror. The doors ...

Large arch top 19th century French Louis Philippe giltwood mirror. The tall rectangular shape of the frame has straight corners at the base, while the upper shoulders have the typica...

17th century Italian hand-carved and gilded crown adorned with herkimer diamonds and mounted on an antique gold base. This was original from a historical Italian church and would ha...

This 20th-century French lamp exudes timeless elegance and artisanal craftsmanship, making it a striking addition to any interior. Crafted from gilded wood, it features a gracefully ...

Marble and gilt bronze clock with mythological decor, 19th century, Napoleon III period. A 19th century Napoleon III period clock in marble and gilt bronze with a mythological theme...

A French early 20th century Louis XV style gilt bronze and cut-glass three-light chandelier. The elongated gilt-metal body with cut-glass pendants, surmounted with three scrolled can...

19th century French Empire cloisonne bronze jewelry casket with blue velvet interior By: unknown Material: bronze, velvet, enamel, metal, copper Technique: gilt, cloisonné, champlevé, cast, molded, metalwork Dimensions: 5 in x 7 in x 6 in Date: late 19th century, circa 1890 Style: Napoleon III, Rococo Revival, Neoclassicism Place of origin: France This richly gilded jewelry...

This antique florr lamp is unsigned, but presumed to originate from Italy and date to approximately 1920 and done in a Classical Florentine style. The lamp base is composed of a softwood that have been heavily hand-carved with considerable decorative elements from the top to the base, and has three pull chain light...

Coppia di Candelabri a Tre Fiamme Impero in Bronzo Dorato della prima metà del XIX secolo, di origine italiana, si presentano in buono stato di conservazione con segni di usura nell...

This expressive oil on canvas captures the timeless charm of Montmartre, one of Paris’s most iconic and romantic neighborhoods. Signed “Dalian” and dated 1968 in the lower right corn...

A wonderful wall light by the Spanish maker Ferro Art, the gilt gold metal in the form of 7 wide leaves, the 3 lamp holders sit within the flower head decorations. As can be seen in ...

This is a stately pair of 19th century bronze figural sculptures of the Three Graces, daughters of Zeus, as lamps. Each lamp depicts a group of three women in classical drape situate...

A fine Italian 19th century oil painting on canvas "La Madonna della Seggiola" after Raphael (Raffaello Sanzio da Urbino 1483-1520) The circular canvas depicting a seated Madonna holding an infant Jesus Christ next to a child Saint John the Baptist, all within a massive carved gilt wood and gesso frame (all high quality gilt is original) 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 Measures: Canvas height: 29 1/4 inches (74.3 cm) Canvas width: 29 1/4 inches (74.3 cm) Painting diameter: 28 1/4 inches (71.8 cm) Frame height: 57 7/8 inches (147 cm) Frame width: 45 1/2 inches (115.6 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...

A Regency giltwood convex girandole mirror. The 13 inch convex plate with ebonized reeded surround is mounted in a concave frame with beaded and rope edges and ball spacers. The ...

Set Eight Italian Miniature Silver Gilt Malachite Musical Instrument Figures Italian, 20th Century Largest (guitar): Height 6.5cm, diameter 3.3cm A delightful example of Italian c...

A highly collectable letter opener or paper knife made in gilded bronze and dating to c.1960; a scarce-find in the gold colour. The handle is in the form of a horse head, beautifu...

Carroll, Lewis. Alice’s Adventures in Wonderland and Through the Looking-Glass. New York: The Macmillan Company, 1921. Illustrated by John Tenniel. Octavo. Rebound in full red leathe...

Step into a world of refined elegance with our extraordinary antique hand carved mahogany wood framed adorned with exquisite gilt brass design details. This remarkable hanging wall...

Twain, Mark. Life on the Mississippi. With over 300 illustrations. London: Chatto & Windus, 1883. First UK Edition. 8vo. Original red pictorial cloth boards, embossed in black and le...

Beautiful pinewood gold frame, high-quality frame in classic style, late 20th century. Nice size of frame to be creative with, as a mirror, chalkboard, Christmas decoration or of co...

Meiji Satsuma Cup and Saucer by Kitagawa-zō with Dragons and Immortals, Signed Dai Nippon An extraordinary Meiji-period Satsuma porcelain cup and saucer, attributed to the distingui...

A pair of circa 1940's Italian gilt metal 3-light sconces in floral motif. Measurements: Height: 19.5" Depth: 7.5" Width/Length: 14"

Decorate a private chapel, a staircase or hallway with this important and complete antique set of "The stations of the cross", or "Chemin de Croix" in French. Hand crafted in France...

Lampadario Italiano in Stile Impero con Putti alati realizzato in bronzo dorato con fusioni ben cesellate e con una doratura di qualità. Il lampadarario è italiano ed è databile into...

A very ornate antique brass fireplace insert with intricate detailing. The design features classical motifs, including floral garlands a...

Antique gilt bronze lantern in the Louis XVI style with frosted glass panes and electrified sockets, ready for use.

Finely carved Louis XV giltwood mirror. France, 19th century. Carved wood, covered with gesso and gold leaf finish. This mirror has been carefully restored using traditional method...

Set of three Florentine-style stacking tables featuring cabriole legs with intricate hand painted details on the tabletops and scalloped edges. The tables have been lovingly restored...

Elegant two-tier chandelier with nine white "lattimo" striated glass petals supported by a gold-plated hardware by Franco Luce, Murano, Italy, 1970s. Excellent vintage condition. Di...