Empire Furniture

A very fine French 19th century Napoleon III Empire style mahogany and ormolu-mounted freestanding Cheval swiveling mirror. The oval framed mirror plate surmounted with Empire style ...

Early 19th Century French Empire Period Marble Top Console ~ Pier Table is an amazing example of the style that launched a revolution felt around the Western World. Highly talented ...

With acanthus-wrapped fluted columns on scroll-form feet and triangular base. Lamp shades not included. Height to socket is 20" - height can be adjusted with different harps.

A fine pair of Paris porcelain vases, designed in campana form with the front featuring circular vignettes with landscape scenes, on the reverse are framed musical trophies created t...

Antique late 19th century French ormolu mounted Empire-style pedestal, cast and figurine depicting a Greek goddess along with sculpted heads overlaid with flora. The middle design de...

Imperial Crest Antique Shield Coat of Arm Wall Plaque Armorial LA Antique Dealer , Beautiful Early 19th century Heavy Bronze Imperial Armorial Armoirie Coat...

Magnificent giltwood and alabaster Russian chandelier in the Empire style

A very large and impressive 19th century Empire style gilt and patinated bronze malachite mantel clock depicting 'Psyche Crowning Cupid.' Psyche crown...

French Empire-style (19th Century) mahogany and bronze guéridon table on triple swan leg platform with stretcher, gallery, and green marble top.

Venetian Empire work table in walnut, saber legs, early 18th century with brass inlays. A real gem. He belonged to a noble Venetian family, in the Palladian country Residence. It was...

1960s signed "Palladio" of Italy wall-mounted Carrara marble console table with mirror. Elegant piece sculpted of iron with gold gilded paint. Fabulous foyer piece.       

Embark on a journey through time with this striking Antique French Napoleonic Boulle Marquetry Longcase Clock, crafted around the year 1800. This magnificent timepiece is a testament...

German empire period seven-piece silver candelabra set German, circa 1810 Meaures: Largest: Height 66.5cm, diameter 30cm Smallest: Height 51cm, width ...

Pair of traditional style brass chandeliers. Three arms each. Nice cast details. Very good quality, heavy for size. Nice petite size, 14" diameter x 22" long overall, including chain...

Gueridon side table from France in the Empire style. This piece has three column legs each adorned with brass detailing at the top and bottom. The base has been ebonized and finished...

This unique French Empire-stye console table, which also functions as a jardinere, is a masterpiece of neoclassical design infused with Empire motifs. Featuring a demilune shape, the...

An Italian midcentury Empire style painted bench with carved ram heads and new upholstery. This exquisite Italian painted bench features a nicely curved seat that has been recovered ...

Grey marble top above a single long drawer, two columns with gilded detailing on either side of fall-front desk enclosing six small drawers surrounding one larger drawer and original...

This bleached fruitwood French swan leg side table from the early 20th century showcases elegant craftsmanship with its gracefully curved legs resembling swan necks and inset Carrara...

Large and impressive mirror from mid-century with black paint and gilded Greek key. The mirror has a large and deep frame molding. To view all of our listings at Tiffany Farha De...

A PAIR OF FRENCH PATINATED STEEL AND PARCEL-GILT GUERIDONS Each with removable galleried top above two cupboards on turned legs headed by swan-neck-shaped handles 21½ in. (57 cm.) h...

high decorative antique bronze candelier from the empire. I guess the chandelier was electrified later .

An important and rare French Empire gilt bronze mantel clock depicting "Venus Guided by Love" featuring a case by the noted bronzier Lesieur. The figures and clock plinth sit on a rectangular green marble base topped with a gilt bronze plinth, raised upon four flattened toupie feet. The round enamel dial, signed “Lesieur à Paris”, indicates the Roman numeral hours and minute graduations. It is housed in a finely chased bronze altar whose pediment is decorated with egg and dart friezes, and be-ribboned torches on either side the façade is adorned with applied stylized butterfly and lyre motifs. The sides feature be-ribboned flower wreaths, and the plinth a leaf frieze. Two fine gilt bronze figures depict a winged and semi-nude cupid who is pointing to the time, while addressing Venus who is clothed in antique robes...

A massive pair of Biedermeier armchairs made in the mid-19th century. Upholstered in an elegant jacquard fabric. A beautiful, stable frame connects the armchairs together. Very good ...

19th century Italian gilded and painted console table from the Empire period in it's original condition. Ca 1810, Italy.

A museum quality early 19th century Paris porcelain urn. The twin handled vase sits on a rectangular porcelain base (modelled as part of the vase), which is decorated on all four sides with finely painted scenes titled 'Gene de Corrinte', 'Gene de Mytilene', 'Gene de Sparte', and 'Gene de Chiu' in reference to various Greek city states. The ovoid body of the vase is richly decorated with Greek key and stylized acanthus designs over and below a large gilt framed oval cameo of Athena on one side and a similar cameo on the other side bearing an undecipherable name. The overall background colour scheme of the vase is dark red/burgundy and dark emerald green, two colours which were more commonly used by the Dagoty factory in Paris than other porcelain manufacturing firms at the time. The vase is unsigned. Note: Pierre Louis Dagoty's porcelain was characterized by the use of vivid colours and the thick application of burnished gold leaf. He borrowed from the repertoire of Neoclassical ornament but his designs also included Egyptian and Chinoiseries motifs. Dagoty's elegant ceramics won him the patronage of Empress Joséphine. At the height of production, in 1807, he employed over a hundred workers, and exported his wares to Russia. After the fall of the First French Empire in 1814, manufacture continued under the Duchesse d'Angoulême, the only surviving child of Louis XVI and Marie-Antoinette. Between 1816 and 1820, Dagoty worked in partnership with François Maurice Honoré. In 1817. Dagoty and Honoré received a commission from President James Monroe...

Splendid wall clock set in an elegant opening wooden case, with carved frame and golden tablet. The internal finishes of the clock are also in golden tablet and brass. The decoration...

Empire Chest of Drawers with Caryatids South Germany, 1815 Cherrywood Very elegant German Empire Chest, ca. 1815. This Chest of drawers rests on four splayed feet and exhibits lovel...

A large French Empire carved and original water gilded Empire picture frame inset with a modern mirror, the corners of the deeply scooped sides set with palmettes.          

Very finely cast Empire style gilt bronze gueridon table with swan motif.

The 19th Century Italian Empire Style Table with Marble Top is a luxurious and elegant piece of furniture that exudes sophistication and grandeur. The ornate Empire style design is s...

High-class Empire pendant from Stockholm around 1800-1810. It features six beautifully decorated candle arms with acanthus leaves. The central decoration includes a female figure sta...

French Empire-style (19th Century) bronze dore compote with 3 Egyptian ebonized figures and crystal bowl.

Empire style cabinet 19th century France two-section carved, painted and gilded wooden cabinet. Upper section decorated with sphinxes, nymph and vegetal motifs. Interior with two sh...

19th Century (Early) French Consulate Empire Chair Beautiful piece purchased in France Age appropriate wear, see detailed photos or message us with questions.

Pair French Empire Style Giltand and cut glass candlestick lamps A pair of Empire style gilt brass mounted candlestick lamps, 20th century, with cut glass columns. size shade/b...

This French Empire walnut side table features a rectangular tray top over two thin drawers, one in the front and one in the back. To maintain a harmonious symmetry, the artist has in...

Pair of 19th C Biedermeier Ebonized & Fruitwood Curule Base Side Chairs. Item features shapely sabre legs, ebonized back splats, rolled backs, beautiful original veneer and solid woo...

French Empire style marble-top mahogany sideboard, 20th c, having rectangular marble top, over case fitted with four drawers, cabinet doors opening to interior shelves, with gilt met...

Wall fountain with semicircular basin and stand in Rosso Verona marble. Winged female iron herms support the basin.

A Highly Important Empire Period Rosso Antico Chimneypiece Inset with Specimen Marble Portrait Reliefs of Roman Emperors The carved and veneered surround comprising a moulded shelf supported by a bold dentil cornice, above an inverted breakfront frieze carved with a central triglyph panel, flanked by a pair of rosettes carved in shallow relief, the frieze mounted with six carved hardstone profile portrait medallions of Roman Emperors, the stop-fluted jambs raised on moulded footblocks; in excellent condition with small restorations commensurate with age and use; the pale inclusions in the stone naturally formed. This spectacular neoclassical marble chimneypiece is carved from Rosso antico, the frieze inset with six portrait reliefs of Roman Emperors, each carved in marmo giallo on a bardiglio background, five variously incised: VESPASIANUS, TIBERIVS, OTHO, JULIUS CAESAR, TITUS. Rosso antico (marmor taenarium) is first recorded as being quarried in 1700 BC at Akra Tainaron (Cape Matapan), Greece.¹ The majority of this stone, however, was extracted throughout the Roman period, when it was one of the most coveted materials for carving due to its rich red colouring and association with highly prized Egyptian ‘Imperial’ Porphyry.² Rosso antico was chosen in antiquity for portrait busts, notably depicting Bacchic subjects such as Dionysus and satyrs due to its rich red wine colour which symbolised conviviality whilst conveying the education and cultivated taste of the owner.³ In the Renaissance, Rosso antico was also used for architectural detail on important buildings, such as the steps leading up to the choir in the medieval church of S. Prassede, and the large columns at the entrance to the Camera dell'Aurora.⁴ In 121 AD, G. Suetonius Tranquillus, secretary to Emperor Hadrian, wrote a biographical history of the first twelve emperors of Rome entitled De vita Caesarum (The Twelve Caesars). A Renaissance edition of Tranquillus’ work was published in 1470, followed by further reprints and translations into all the main European languages. Many of these were illustrated with prints of emperors taken from coins and statues, or imagined by the artist based on Tranquillus’ accounts. These interpretations were copied, in turn, by Renaissance designers for medals, Limoges enamels, and busts, as well as paintings such as the Eleven Caesars, a series of eleven half-length portraits of Roman emperors made by Titian in 1536–40 for Federico II, Duke of Mantua.⁵ These paintings were later given to King Charles I, before being passed in the Commonwealth to the Kings of Spain. Unfortunately, the series was destroyed in the catastrophic fire of 1734 at the Royal Alcazar of Madrid, and is now only known through copies and engravings.⁶ From the middle of the 17th century until the end of the 18th century, there was an insatiable demand for marble carvings, often sold as Roman or assembled from ancient fragments, thus perpetuating the reverence for antiquity that was the quintessence of the Grand Tour. Rosso antico was in extremely short supply, even after the ancient quarries at Skutari were rediscovered in 1830, and remained one of the most highly valued of all stones. Described in 1776 as ‘dark red; scarce and dear’, it was mostly used for small objects such as Grand Tour desk ornaments, inevitably using material re-cut from classical fragments, due to its rarity, as was the case with porphyry.⁷ The portrait roundels on this chimneypiece are typical of those produced in Rome and Florence in hardstones, semi-precious stones, gold, silver, bronze, and mother-of-pearl, which, being easily transportable, would be taken home from the Grand Tour to be mounted within wooden, gilded or brass frames, as fashion dictated.⁸ A group of gold portraits of Caesars, dating from around 1660, are in the Museo Nazionale del Bargello in Florence. Images of Roman emperors were not limited to Italy, England and France, however, as examples executed in Deshima for the Dutch East India Company (Verenigde Oost-Indische Compagnie) show. Medallions depicting Roman emperors, invariably made of black and gold Japanese hiramakie or takamakie lacquer on copper, were produced for the Dutch market at the end of the 18th century. Examples can be found in the Rijksmuseum, Amsterdam.⁹ There are two possible sources for the Imperial profiles on the chimneypiece: the engravings of The Twelve Caesars by Marcantonio Raimondi, or the Imperatorum Imagines by Hubert Golz.¹⁰ The portrait medallions also bear remarkable resemblance to a set of eighteen carved portrait reliefs of Roman Emperors, also of marmo giallo, almost certainly bought by David Ker (1742–1811) of Portavo, Co. Down, on his Grand Tour between 1792–4 in either Florence or Rome. Ker’s diary entry for 17th October 1793 is interesting as it reveals that he was offering his brother a choice of chimneypiece designs, which further supports a Roman origin for the offered example.¹¹ Indeed, fire surrounds incorporating antique fragments had been promoted from the late 1760s by Giovanni Battista Piranesi (1720–78), encouraged by Rome-trained architects including Robert Adam (d.1792). One such example, inset with mythological tablets carved from Rosso antico, was acquired by the 9th Earl of Exeter from Piranesi himself for Burghley House.¹² Another can be found at Islington House, Dorset.¹³ A third, inset with giallo antico and Rosso antico, follows Piranesi’s engraved design dated 1769 for a fire surround mounted with three marble portrait reliefs.¹⁴ It should be re-emphasised that Rosso antico was so precious that it was only ever used for small tablets or details rather than an entire chimneypiece, as with the offered example; likewise, while portrait reliefs are occasionally seen on the jambs of Italian surrounds, it is exceptionally rare to see the frieze mounted with a group, especially of this scale: the combination indicates an architectural commission by an extremely wealthy patron. The sophisticated lines of this chimneypiece epitomise the French Empire influence on the Italian states at the turn of the 18th century. This idiosyncratic ‘Roman’ taste is encapsulated by that of Napoleon, who identified with Rome’s Imperial past. Napoleon’s desire to establish a visual link between himself and Roman emperors is demonstrated by the portraits of his court painter, Jacques-Louis David, inspired by portraits of Emperor Augustus. This Imperial taste extended to architecture, furniture and porcelain, the latter two of which are combined in a group of magnificent ormolu-mounted guéridons commissioned in Sèvres between 1803–11, made to immortalise Napoleon’s reign.¹⁵ The second guéridon in the series, the Table des Grands Capitaines (Table of the Great Commanders of Antiquity), commissioned in 1806, is made almost entirely of hard-paste Sèvres porcelain. The top, painted in imitation of sardonyx, is centred by a portrait cameo of Alexander the Great, surrounded by twelve smaller heads of commanders and philosophers from antiquity: Pericles, Scipio Africanus, Pompey, Augustus, Septimus Severus, Constantine, Trajan, Caesar, Mithridates, Hannibal, Themistocles and Miltiades.¹⁶ Louis XVIII presented the table to the Prince Regent (later King George IV) in 1817 as a token of appreciation for Napoleon’s defeat two years earlier, and George IV treasured it so highly that it became part of the ceremonial backdrop for all his state portraits. The table remains in the Royal Collection.¹⁷ This chimneypiece remained, until recently, in the possession of a noble Dutch family, who acquired it from the owners of a bombed Knightsbridge house in the 1940s; unfortunately, its provenance prior to this has been lost. The use of Rosso antico on this scale, inset with these splendid Imperial profile medallions, appears unparalleled. 1. J. B. Grossman, 'Looking at Greek and Roman Sculpture in Stone' (Los Angeles, 2003). Grossman states that this material was ‘...quarried in three places during antiquity: on Cape Tainaron present day Matapan on the Peloponnese of Greece; on Crete; and at the site of Iasos in Asia Minor. 2. L. Lazzarini, ‘Rosso antico and other red marbles used in antiquity: a characterization study’, Marble, Art Historical and Scientific Perspectives on Ancient Sculpture’ (1990), 237–252. C. Gorgoni, L. Lazzarini, P. Pallante, ‘New archaeometric data on Rosso antico and other red marbles used in antiquity, ASMOSIA VI, Interdisciplinary Studies on Ancient Stone’ (2002), pp. 199–206. J. Deér, trans. G.A. Gilhoff, The Dynastic Porphyry Tombs of the Norman Period in Sicily (Cambridge, 1959), p. 144. R. Gnoli, Marmora Romana (Rome, 1988), pp. 187–191. 3. A notable example is a satyr from the Emperor Hadrian's villa at Tivoli, now in the Capitoline Museum, Rome. Another is the head of a satyr in the Minneapolis Institute of Arts, accession no. 2006.110. See T. Opper, Hadrian. Empire and Conflict (London, 2008), p. 165, fig. 149. 4. De Luca, Marmi antichi (Rome, 1998), p. 126. Faustino Corsi, Catalogo ragionato d’una collezione di pietre di decorazione (Rome, 1833), p. 93. 5. For related Limoges medallions, see set of ten circular Limoges enamel medallions depicting Roman emperors, en grisaille with gilding, from the workshop of Jacques I Laudin, sold Christie’s London, Fine Renaissance Bronzes and Works of Art, 19 December, 1977, lot 95. 6. See set of drawings sold Sotheby’s London, Of Royal and Noble Descent, 24 February, 2015, lot 184. 7. J. J. Ferber, Raspe’s Travels through Italy in the Years 1771–1772 (London, 1776), p. 218. 8. See Sotheby’s London, Pelham, the Public and the Private, 8 March 2016, lot 75: ‘A set of twelve mother-of-pearl cameos of Roman Emperors, Southern Italian, early 19th century’ 9. Oliver Impey, Christiaan J.A. Jörg, Cynthia Viallé, Japanese Export Lacquer 1580–1850 (Amsterdam, 2005) pp. 48–57, no. 56 & 57. 10. For a further reference, see the candlesticks by Jacques I Laudin in the Waters Art Gallery, illustrated in P. Verdier, Catalogue of the Painted Enamels of the Renaissance (Baltimore, 1967), p. 389, nos. 207 & 208. 11. John Ingamells, A Dictionary of British and Irish travellers in Italy 1701–1800 (London, 1997), pp. 572–3. 12. Oliver Impey, Four Centuries of Decorative Arts from Burghley House (Virginia, 1998), p. 53, fig. 23. 13. Country Life, 12 June, 1997, p. 162, figs. 9–11. 14. A. González-Palacios, Il Tempio del Gusto, Roma e il Regno delle due Sicilie, Vol. II (Milan, 1984), pp. 592–93, p. 260. 15. S. Grandjean, 'Napoleonic Tables...

Empire B&G 10 p. Coffee service. Bing and Grondahl, B&G No. 102. Contents: 1.25 dl. Measures: 7.8 cm. x 6.2 cm Old No. 102. New No. 305. 1st. factory quality., in...

Empire period nickel and nickel plated brass oval shape Bouillotte two candle lamp, now electrified. Having a black painted tole adjustable shade and u...

Early 19th Century French Savonnerie Carpet from Empire Period (8' x 13' 6" - 243 x 412 cm)

A beautiful pair of Sevres Style cream cups, in the form of gilded Swans.

a marquetery game table 19 century need restorations

Italian Empire sterling silver 5-light candelabrum. Raised socket on ovoid shaft to which are mounted four leaf-mounted arms terminating in same. Sockets bellied on wax pan. Shaft mo...

This elegant and unusual Italien painted beech wood cabinet has retained it's original painted decoration. This extravagant piece of furniture shows all the characteristics of late ...

French Empire gilt oval horizontal wall mirror with swan-shaped sides and urn top with floral decoration.

Standing at an impressive 6 feet tall, they were procured from an esteemed estate in Greenwich, Connecticut, which adds a layer of history and significance to the pieces. They are pr...

Contemporary Makonde Style Hand Carved with filigree design cylindrical wooden cculpture on a square shaped base

French Empire-style (19th Century) 4 piece bronze inkwell set with swan design. Inkwell, paperweight, pen holder, sandwell for cleaning nibs.(PRICED AS SET)

French Empire style small bronze bust of Napoleon on bronze square shaped pedestal base (signed DUBRAND) (19th Cent.)

Very nice set of solid silver and horn cutlery for six persons, by famous silversmith Nicolaj Brandt, Horsens, Denmark, 1787-1813.

An Interesting Late 19th Century Gilt Bronze Mounted Empire Style Cabinet The Vert marble top above two large doors mounted with angels, the top ...

French Empire-style gilt bronze mounted malachite coffee table French, Early 20th Century Height 52cm, width 123cm, depth 63cm Exemplifying all that is grand and regal about the fan...

A thread table from the second half of the 19th century in the Biedermeier style. A small piece of furniture, a bit forgotten today, but once a must-have for a housewife for needlew...

Dancing scene with violinist and dancing couple.

Empire Settee, France 1810 Step back in time to the opulent era of 19th-century France with the exquisite Elegant Empire Settee, crafted in 1810. This resplendent sofa is a testament...

A pair of French empire style gilt-bronze two-light wall torchère sconces. Each elongated gilt-bronze applique with central twin-tassels supporting a pa...