Louis XVI Furniture

This large Palatial Antique French Louis XVI-style chandelier lamp, of palatial size, features a gilt bronze frame adorned with neoclassical motifs and cut crystal elements. The stru...

Bronze Mounted Steinway Model M Baby Grand Piano A Model Of Francois Linke Dimensions : Height 43 in., Length 67 in., Width 56.25 in A Gilt-Bronze Mounted Steinway & Sons Baby G...

A Magnificent French Louis XVI style Gilt Bronze Birdcage Form Multi Light Chandelier with Two Hand-Carved PInk and Amethyst Rock Crystal Birds Perched on the Inside. The exterior is highly embellished with multi-colored porcelain enameled flowers...

A beautifully constructed French settee from the 19th century incorporating Louis XVI decorative motifs and proportions that would also fit with Empire or Directoire tastes as well. ...

A gorgeous Louis XVI style, marble-topped walnut commode from France (late 19th century) with transitional details that could suit a wide range of decorating tastes today. The dark s...

A Louis XVI style triple dresser made by Dixie Furniture circa 1970. Three top drawers are paneled to give the look of four and open with rosette pressed knob handles. Lower drawers ...

Meet our stunning Queen French Oak Bed, a beautifully replicated Louis XVI bed made from white oak with meticulous attention to detail. Each intricate carving is embellished with lov...

Created for Maison Jansen and signed by designer Maurice Hirsch, this mid twentieth century Louis XVI style mahogany buffet features fluted rounded corners and a beveled white marble...

Pair of Vintage Chairs from France, Original painted finish, in a creamy tone with gold gilt and pink velvet. 24" x 24" x 36"h Arm Height 24" / Seat height 18". / Seat depth 20" Th...

French, early 20th century petite walnut bedside tables offering three drawers raised on slender, tapered legs. This lovely set would be ideal for a small bedroom or as end tables of...

A large and most impressive vintage French Louis XVI style painted parcel gilt console table / server attributed to legendary Parisian design house Maison Jansen. *Rare opportunity!...

French mid-century bed made circa 1900, in the Louis XVI style. The painting is the original but the bed has been patinated recently to refresh the finishing. The upholtery is in goo...

An elegant and compact Italian chest of drawers in Louis XVI style, veneered with coloured woods on the top, sides, and front. Lombardy origin, late 18th century Among the many styl...

Antique fine French rare pair of early 20th century mahogany, fruitwood marquetry and gilt bronze mounted commodes In the Louis XVI Style, after the original model of the commode com...

A beautiful pair of French Louis XVI carved and painted bergere chairs in a pretty neo-classical chintz. The frames are painted in and ivory and celadon. The vintage upholstery has n...

Baker Furniture French Louis XVI Directoire Style Walnut and Brass Sideboard This sideboard measures: 72.25 wide x 19.25 deep x 32 inches high We take our photos in a controlled li...

A Marvelous 19th Century Italian Oil on Canvas titled "The Cardinal's Present" by Arturo Ricci. This oil on canvas is truly incredible and one of Ricci's best works of art. The sce...

This exceptional pair of Italian Polychromed drum cupboards from the 18th century that exude elegance and grandeur. The design and craftsmanship of these Cupboards are a testament to...

A charming Mid-20th Century hand-painted desk or vanity crafted by Hampton Shops of New York. This elegant piece reflects a Venetian Revival style, showcasing chinoiserie-inspired sc...

This is a French Louis XVI style upholstered bench in a blue velvet. It is unmarked. The frame is intentionally distressed. This piece is not very old.

A timeless case piece, this 19th century Louis XVI style enfilade has a (more recent) ebonized finish that beautifully contrasts the brass accents for a touch of drama in a foyer or ...

Niermann Weeks Crystal & Wrought Iron 12 Light Chandelier

Set of six French dining chairs, mid 20th century Louis XVI revival C1960                                All original velvet velour studded upholstery on lightly distressed painted ...

Alpine Blue Painted Wardrobe with Sunflowers Measurements: H. 183 cm - W. 128 (150 to the frames) cm - D. 55 (66 to the frames) cm Period: Late 18th century Origin: Bavarian Alps Wo...

Antique French Mahogany Small Cabinet Side Table White MARBLE Louis XVI Mahogany. Direct from France to us, we’re so excited to offer this wonderful antique/vintage mahogany cabinet...

Condition: Original Vintage Condition, Missing 2 Pulls On Bottom Drawer Materials: Mahogany, Missing 2 Pulls On Bottom Drawer

A gorgeous French Regency Louis XVI style executive writing desk or bureau plat desk By Henredon USA, Late 20th Century Carved mahogany, with embossed leather top, original brass ...

Late Classicist chest of drawers Southern Germany Walnut Early 19th century Dimensions: H x W x D: 83 x 124 x 60 cm Description: Strictly cubist chest of drawers from the transiti...

A petite mahogany bookcase from France, early 20th century, that will be the perfect backdrop to display treasured collections & collectibles as well as books. The marble top surface...

The fine flame mahogany used in the construction of this Exceptional piece of furniture exhibits the quality of material And craftsmanship that were used to make this piece. The whit...

A Very Large and Exceptionally Fine Quality Antique Italian Micro-Mosaic Plaque Depicting "The Saint Peter Square" in Rome. The center medallion surrounded by a beautiful Laurel Wreath in multiple shades of Green Mosaic amidst a black Belgium Marble border. The interior rounded subject depicts Saint Peter Square which is found in Rome, Italy. The entire center panel is made up of a captivating array of tesserae in a variety of shapes and colors, which create this stunning mosaic construct. When inspected from up-close, small rectangular tesserae are found in an assortment of colors, which include: white, green, blue, red, black, brown, orange etc. When the subject is seen from afar, a fantastic image of the entire Saint Peter Square can be viewed as if a painting has been created. The oil on canvas of this scene, by was sold in Christie's Auction for over $2,000,000 USD. The plaque rests in a custom ebonized and gilt square frame. This can be used as a decorative object on the wall to serve as a painting, or, be converted to a table-top by mounting it on a table stand. Rome, Circa: 1850 Giovanni Paolo Panini (Piacenza 1691-1765 Rome), View of Saint Peter's Square, Rome. From Christie's Auction: Giovanni Paolo Panini arrived in Rome in 1711, painting capricci and architectural pieces in a vigorous if slightly eccentric style, and by 1719, when he was admitted to the Academy of St. Luke and the virtuosi al Pantheon, he was a rising star in the Roman art world. From around 1719-1726 he was much in demand for decorative frescoes, including quadratura, ornament and landscape and other genres, often in collaboration with figure or flower painters. During this period he worked for Cardinal Patrizi at Villa Patrizi, Cardinal Annibale Albani at Palazzo Albani (now del Drago) alle Quattro Fontane, Livio de Carolis at Palazzo de Carolis, Cardinal Alberoni at Palazzo Alberoni, Innocent XIII Conti in the Quirinal and in the library of S. Croce in Gerusalemme. In 1724 he married Caterina Gosset, the sister-in-law of Nicolas Vleughels, the director of the French Academy in Rome, to which he was admitted in 1732, and as a result he was much patronized by the French. During the 1720s he developed his figure style away from the awkwardness of his early works into one that concentrated on groups of stylishly-dressed aristocrats and skillfully modelled bystanders, sibyls and pseudo-antique figures. These he noted down in drawings (such as a sketchbook in the British Museum) that he drew upon to populate his paintings. He also began to receive commissions to design and record temporary festivals, often for French ambassadors to Rome. By the beginning of the 1730s Panini was developing a distinctive subgenre of the capriccio in which recognizable monuments are placed in imaginary topographical relationships, which were well-received in the classicizing era of Clement XII Corsini. In 1732 he was one of the panel of judges for the competition instituted by Clement for the Lateran façade, and in the following year painted an impressive View of Piazza del Quirinale for the pope. At about this time he was developing his best-known topographical subjects, interior views of St Peter's and the Pantheon, which were much in demand, to judge by the number of extant versions extending into the 1750s. By about 1734 he was beginning to attract the attention of English patrons, who ordered sets of Roman views, such as those at Marble Hill House (1738) and Castle Howard. In 1736, through Filippo Juvarra, he received important commissions from Philip V of Spain for scenes of the life of Christ in the Chinoiserie room at La Granja in Spain (1736). From as early as the 1720s he had been producing some vedute (view-paintings), initially based on prototypes by Gaspar van Wittel, and he developed the genre in subsequent decades in works that would include impressive panoramic views of the Forum or Palatine, although his staple genre was the capriccio rather than the veduta. He also expanded his repertory of church interiors, adding such churches as S. Paolo fuori le Mura and S. Agnese in Piazza Navona, as well as church interiors recording special events. His son by his first marriage, Giuseppe (1718-1805), began to support him in architectural and festival design projects. By the 1740s Panini was at the peak of his powers, and evidently had a considerable workshop helping him meet demand, especially of capricci to be used as overdoors and other decorative installations. Giovanni Paolo was successful in elevating himself socially above the usual artisanal status of genre painters, and would sometimes include a self-portrait in paintings commissioned by the great and powerful. He also appears to have been successful financially, and owned a substantial palazzo in via Monserrato. He increasingly concentrated on important commissions, such as a view of the Lottery in Piazza Montecitorio (London, National Gallery, 1743-1744), the designs for the festival decorations for the birth of the Dauphin in Palazzo Farnese (Waddesdon Manor, 1751), or the view of an imaginary picture gallery housing the collection of Cardinal Valenti Gonzaga (Wadsworth Atheneum, 1749). In the mid-1750s he received an important series of commissions from the Duc de Choiseul, French ambassador to Rome and soon to become one of the most powerful men in France, that included his best-known compositions, Ancient Rome (Roma Antica) and Modern Rome (Roma Moderna). These large paintings, of which there are three sets (in Boston and Stuttgart, the Metropolitan Museum, and the Louvre) represent imaginary picture galleries based on the Valenti Gonzaga composition but hung with what purport to be Panini's own vedute of ancient and modern sites respectively (with corresponding pieces of sculpture). These paintings sum up the eighteenth-century canon of the greatest works of architecture and sculpture, and the equivalence between modern and ancient Rome. By this time Panini was being assisted by his son by his second marriage, Francesco (1748-1800), who was a skilled draughtsman and painter who continued his father's work after his death in 1765. The Farnborough Hall paintings The Piazza S. Pietro and the Campidoglio are important vedute by Panini painted in 1750 and originally installed, with other works by Panini and Canaletto, in the seat of the Holbech family, Farnborough Hall, Warwickshire (National Trust). Farnborough Hall had been inherited in 1717 by William Holbech (circa 1699-1771), who is documented on the Grand Tour in Florence, Rome and Venice from late 1732 until his return home at the end of April 1734 with his brother Hugh. Holbech is said to have gone on the Grand Tour to recover from a broken heart and to have spent a considerable time there prior to these documented appearances. During his time in Rome he acquired two Paninis, which were seen by an anonymous antiquary around 1746, who referred to various sculptures "all brought from Rome with two pictures, one of the Rotunda, and the other of diverse buildings by Panino" (British Library, Add. MS 6230, pp. 31-32). The Rotunda (the Pantheon) is a painting now in a private collection in New York, and is signed and dated 1734. The Diverse Buildings, which was probably one of Panini's capricci, has not been identified. On his Grand Tour Holbech seems also to have acquired two Canalettos, although they are not mentioned by the antiquary, who may only have had eyes for things Roman. In about 1746-1747, Holbech remodelled the house by creating a Saloon, now the dining room, at the back of the house. This room, the entrance hall, the staircase, library and closet were stuccoed by William Perritt of York, and a bill for this work dated 14 November 1750 survives (or survived until recently; G. Beard, Decorative Plasterwork in Great Britain, London, 1975, p. 233). The two Canalettos acquired on the Grand Tour were installed in the Saloon, together with two new works commissioned from Canaletto, who was then in England and working nearby at Warwick Castle in 1748. The two Paninis acquired on the Grand Tour may have been installed in the Library, as Alastair Laing assumes (op. cit.), while three new works commissioned from Panini in Rome were placed in the Hall and Saloon: the Piazza S. Pietro for the overmantel in the Hall (fig. 1), the Campidoglio as the overmantel in the Saloon (fig. 2), and an Interior of St Peter's (now in Detroit) (fig. 3) on the adjacent wall facing the windows. Two of the Canalettos flanked the Campidoglio, while the others were on the opposite wall. The Interior of St Peter's was therefore effectively the fifth member of the Canaletto set, distinct from the two overmantels. Holbech's installation of his Canalettos and Paninis in fixed stucco frames was unusual for England in 1750, and had probably been inspired by what he had seen on his Grand Tour in Northern Italy, where fixed stucco installations of canvases were common in the 1720s and 1730s (Cornforth, II, p. 51). The Campidoglio and the Interior of St Peter's are both signed and dated 1750, a date that corresponds to the payments for the stucco. The commission for the new Paninis would have been made through an agent, possibly the Roman dealer in antiquities Belisario Amidei from whom some of the antique busts in the Hall were acquired in 1745, who was also a picture dealer; or perhaps the painter Pietro Berton, who on 7 December 1750 shipped a Panini to England. The paintings were sold to Savile Gallery in 1929 and replaced by copies by one Mohammed Ayoub. The four Canalettos were exhibited at Savile Gallery in 1930 and entered the London art trade, finding their way at various times to Augsburg, Melbourne, Ottawa and a private collection. The Paninis seem to have been resold immediately to Knoedler & Co. in New York. When the stucco was removed from the library by Holbech's great-grandson, another William Holbech, shortly after his succession in 1812, the Interior of the Pantheon and the Diverse Buildings may have been taken down. Although there is no record of either painting being at Farnborough subsequently, the Interior of the Pantheon at least must have remained there, since it appeared at Knoedler's in 1930 at about the same time as the other Paninis, and was presumably acquired at the same time from the same source. The Campidoglio was a rare subject for Panini: this is the only known extant version, apart from fictive versions in the Metropolitan Museum (1757) (figs. 4) and Louvre (1759) versions of his Roma Moderna composition (but not in the first Boston version of 1757). Probably Holbech insisted on the choice of subject in order to represent the centre of Rome's civic administration to complement the religious one of St Peter's. The Campidoglio may have been of interest to English patrons because it represented the seat of a form of government they were more comfortable with than the papacy. For example, Canaletto painted the subject, together with English subjects, for Thomas Hollis, 'the most bigoted of all Republicans' in 1755, who may have wanted to 'represent London as the heir to the legacy of Ancient Rome and Renaissance Italy' (see Michael Liversidge and Jane Farrington, eds., Canaletto and England, exhibition catalogue, Birmingham Museums and Art Gallery, London, 1993, p. 25). Canaletto also painted the subject for Sir Richard Neave, Ist Baronet (1731-1814) of Dagnam Park, Essex, at the end of his English stay or shortly afterwards (i.e. 1755-1766) (sold, Sotheby's, London, 10 July 2002, lot 8). Like Holbech, Neave mixed Venetian and Roman subjects, but his Roman subjects steer clear of St Peter's: the others were the Piazza del Quirinale and Piazza Navona. While Holbech had gone to both Venice and Rome and commissioned views of both cities, Rome sets the keynote for his decoration: antique busts line the Hall, and its religious and civic centres are the overmantels in the Hall and Saloon respectively. The Piazza S. Pietro The Piazza S. Pietro shows the piazza much as it appears today, apart from the absence of Valadier's late eighteenth-century clocks on the towers. Bernini's colonnade (1656-1667), both ends of which are visible, reaches out its arms to embrace the viewer. In the center of the piazza is the obelisk moved by Sixtus V in 1586 from the left side of the church where it had formed part of the Circus of Nero. On either side are two fountains, the one on the right by Carlo Maderno (1613) and the one on the left created to match it by Carlo Fontana in 1677. Beyond is the rectangular forecourt to the church, the piazza retta, leading to the façade by Maderno, completed in 1610, and the dome by Michelangelo, Giacomo della Porta and Domenico Fontana. To the right of the façade the roof of the Sistine Chapel is just visible, followed by the Cortile di S. Damaso, the palace of the Swiss Guards and the palace of Paul V. A Cardinal is being driven in a carriage across the piazza at the right in the direction of the Borgo Nuovo and Ponte S. Angelo with his blue-liveried retinue and subsidiary carriages. Unlike the later versions of the subject that depict the Duke de Choiseul, there seems to be no intent to portray any particular cardinal: the procession of a cardinal here is presented simply as characteristic activity within the piazza. Various groups of figures, including well-dressed women in brightly colored dresses, Swiss Guards, priests, gentlemen, idlers and a pilgrim are distributed around the piazza. In the foreground an imaginary heap of fallen masonry provides visual interest in an otherwise dead space. Panini painted the Piazza S. Pietro on a number of occasions, and his works falls into two types, one with the viewpoint shifted slightly to left of the axis, as in the Farnborough Hall version, and one with it shifted slightly to the right. The first type is based on a composition by Gaspar van Wittel, of which there are numerous versions from 1684 until 1721 (Fig. 9 van Wittel). The work by Panini that seems closest to Van Wittel and therefore probably the earliest is the version in the Circolo della Caccia, Rome, which has been dated to the second half of the 1730s, but is probably a decade or so earlier. Another, on the London art market in 2002-2009, and a version with workshop participation at Sotheby's, Milan (20 November 2007, lot 137) and currently on the art market in Rome, are closer to an important painting in Toledo (Arisi no. 308) that is signed and dated 1741 (fig. 6). Van Wittel employed a wide format (about 2:1), showed both of the end faces of the colonnade almost to their full extent, and introduced the theme of a heap of masonry to enliven the foreground. His choice of perspective implies a viewpoint located in the small piazza between the Borgo Nuovo and Borgo Vecchio, now the Piazza Pio XII at the top of the Via della Conciliazione. From this viewpoint a building at the left tended to interfere with the view of the end of the left arm, as can be seen from the Nolli map...

Handsome louis XVI style desk with original leather top. It has a drawer that glides easily and has a lock. It has a reeded leg ending in a gilt capped foot.

A French Louis XVI style Ormolu-Mounted Mahogany Vitrine Table, C. 1880, attributed to Paul Sormani.   Very good quality, nice ormolu mounts throughout, presents very well.   Measure...

Italian imperial Louis XVI watch triptych 1970s

Antique French Mahogany Louis XVI Chest of Drawers WHITE Marble SMALL Side Table. Direct from France to us, another classic French beauty, this elegant antique Louis XVI style chest...

This table is made in Italy for Andrew Kornat Designs to his exacting specification - the very traditional style of hoof footed Gueridon Table is a classical French design that been ...

A gorgeous Louis XVI style marble-topped mahogany commode from France, circa 1870, with Neoclassical and transitional details that could suit a wide range of decorating tastes today....

French mid-century bed made circa 1960, in the Louis XVI style. The patina is not the original and has been made recently. The fabric is in good condition but it can be removed if yo...

French “Semainier” in the Louis XVI style, the neoclassical cabinet features 7 dovetailed drawers (one for each day of the week, “semaine” means week in French). The Semainier was cr...

This is a lovely set of eight vintage, upholstered French white-painted Louis XVI style dining chairs with round, straight fluted legs and upholstered seat and padded back. The set ...

Painted Wardrobe dated 1793 Measurements: H. 188 cm - W. 126 cm (144 at the frames) - D. 47 cm (56 at the frames) Period: 1793 Origin: Tyrol (European Alpine region) Wood: Fir Desc...

An oval Louis XVI style writing desk. Three panels of black leather are framed with a scrolled gilt border. Four dovetailed drawers with beveled paneled fronts, open with round brass...

A stunning Louis XVI style armchair France, Early 20th Century Painted cream and gold gilt carved wooden frame, with pink and gold "woven" patterned upholstery, and down filled cus...

A gorgeous French Regency Louis XVI Chinoiserie style lighted breakfront bookcase or dining cabinet with hand-painted Chinoiserie scenes By Karges Furniture USA, Circa 1980s Green...

Found in France, this pair of Louis XVI style benches date from approximately 1900. Benches feature decorative carving on frames, tapered and reeded legs, tall sides with upholstered...

Exquisite antique 19th century French Louis XVI Full Size Bed. Made from solid quartersawn oak with meticulous carving throughout. Features square fluted posts with French medallion...

Very unusual and large conversation settee - canapé à confident. Carved gilt-wood and velvet fabric, circa 1880.

18th century Altar Modell, South Germany, with original painting, wood A rare altar model with original painting, in the middle Jesus Christus and on the ...

An exquisite set of early 20th-century French dining chairs in the Louis XVI style, sourced from Provence, France. This set includes six side chairs and two armchairs, all meticulous...

This small scale early twentieth century French Louis XVI style hand carved beech wood side table features a rose colored marble top with grey and white veining. A rais-de-coeur patt...

French buffet/Enfilade in the Louis XVI style. Made of Mahogany wood that has been ebonized and enhanced with a lustrous Museum quality finish. Four doors open up to ample storage wi...

An exceptional French Art Deco or Louis XVI style highboy dresser or chest of drawers In the manner of Romweber By Joerns Bros. USA, Circa 1920s Beautiful book-matched inlaid bur...

A refined French Louis XVI style bench from the 19th century, retaining its original carved hardwood frame and newly upholstered in a neutral, textured linen. The bench presents a rectangular silhouette with a generous seat cushion resting atop a finely carved apron, detailed with classic guilloche motif along the front and sides. Corner rosettes anchor the design, above fluted legs that taper to toupie-style feet. The legs are joined by a molded H-stretcher that not only adds structural integrity but also enhances the bench’s elegant...

Square crystal chandelier made of brass - 12 lights, restored in Berlin, rewired For sale is an exceptional square chandelier with an impressive look and high-quality workmanship. It...

A striking French 19th century Louis XVI style giltwood mirror that incorporates rococo themes and Neoclassical carvings to animate the narrow, rectangular shape. The molding display...

A lovely set of six Louis XVI style painted and upholstered armless dining chairs, circa 1930. Their clean silhouettes of straight lines and squared backs is softened by the French g...

Antique Louis XVI style Oval Carved Mahogany and Marble Top Coffee Table, Side Table French, antique black marble top mahogany oval coffee or side table with ornamental apron. Car...

A refined Louis XVI style marble-topped fruitwood commode from France, circa 1870, with Neoclassical and transitional details that could suit a wide range of decorating tastes today....

This is a superb, French Directoire style desk. The desk is adorned with bronze and brass ormolu and a gorgeous gold tooled leather embossed top. The desk features inlaid burnished t...

An elegant walnut & marble commode from France, 19th century, with finely carved decoration in the Louis XVI style, fitting with Empire and transitional tastes just the same. The top...

A French petite mirror in the Louis XVI style, dating to the 19th century, with incredible, carved gilt wood detail set off by the ebonized (painted) backpanel. At the top of the pie...

​19th Century French Louis XVI Style Mahogany Bronze Mounted Cabinet Vitrine Dimensions :51" Wide X 50" Tall X 16" Deep This stunning vitrine was made in France in the late 19th ce...

A large antique French trumeau mirror with grey paint and decor with musical trophy and the top, made in hand carved in pine.

This elegant 18th-century French bergère, circa 1790, is a fine example of Louis XVI style, blending classical refinement with exceptional craftsmanship. The solid beech wood frame f...

Rectangular external frame with inward corners for oval photo, in 925/1000 gold-plated sterling silver with two-tone translucent enamel on guilloche. Borders and ornaments in French ...

This elegant mahogany and marble demilune console from France, 19th century, is a fantastic addition to any space, as a console or even a small desserte table and bar. It is topped w...

Opulent matched pair of upholstered French case sofas or settees crafted in the Grand Louis XVI style. The sofas feature a tuxedo style case hand-carved from beech with fluted corner...

Painted Tyrolean Chest, Blue Measurements: H. 88 cm - W. 149 cm - D. 64 cm Period: about 1810 Origin: Tyrol Wood: Fir Description: Beautiful and large painted Tyrolean chest, entir...

This small scale late eighteenth century French Louis XVI period walnut lady's writing desk features a gold tooled black leather top. A single drawer pulls out from the side using a ...

This early nineteenth century French Louis XVI style walnut commode or chest of drawers features a beveled Saint Anne marble top and fluted rounded corners. Its three drawers of dove...

A lovely gilt mantel mirror from 19th century France, the narrow proportions of the frame are decorated with iconic–if not romantic–themes from the court of Louis XVI and Marie Antoi...

Antique French Louis XVI Console Table Foyer Demilune Carved Bleached Wood c1890. Direct from France, a highly carved antique French console or foyer table, with classic demilune sh...

French chandelier in the Louis XVI style. The fixture features a hand hammered gilt iron structure boasting a rich array of mouth blown crystal teardrops. This fixture has been newly...