Louis XVI Furniture

Louis XVI Style Giltwood Side Chair, circa 1900, with metallic silver-tone upholstered seat. 32" H x 16" W x 17" D; seat: 18" H. Provenance: From an 880 Fifth Avenue Collection.

A Monumental and Beautifully Enameled 360 Degree Decorated 19th Century Vienna Porcelain Vase with Ormolu Mount, Signed Wagner. The ...

The desk with a 1/4 cylinder top that opens to reveal a leather writing surface with pigeon holes and drawers. The gallery with white Carrara marble top.

An exquisite pair of restored early 20th century French side chairs in the Louis XVI style, sourced from Provence, France. The shaped rectangular backrests and frames are finely hand...

An exquisite 19th century French Louis XVI gilded mirror. The rectangular mirror is embellished with a magnificent crown featuring scrolls and leaves. The frame is finely hand carved...

French Louis XVI Revival Style Brass Chandelier, 6 Arms: This refined French Louis XVI Revival brass chandelier showcases timeless elegance with its neoclassical form and warm pati...

A Fantastic, Rare, and Large 19th Century French Baccarat Ormolu and Crystal Centerpiece. The piece consists of two thick and dense crystal...

A Pair of 18th Century Meissen Porcelain Marcolini Period Covered Tureens with 19th Century French Ormolu Mounts. These tureens show the combination of iconic French and German porc...

A Monumental Pair of 19th century French Dore bronze mounted hand-diamond cut crystal vases with rams heads attributted to Baccarat. Each vase...

A late 19th century French gilt bronze and beaded crystals chandelier with 12 lights

An exceptional set of six late 19th-century French dining chairs in the timeless Louis XVI style, sourced directly from Provence, France. Expertly handcrafted from solid maple, each ...

An exquisite set of four French Louis XVI style gilt bronze and rock crystal candelabras by Bagues. Each piece is structured with a central gilt bronze stem rising from a shaped base...

A palatial and large 19th century Baccarat cut crystal chandelier composed of tiered crystal elements, hand-cut prisms, and acid-etched glass shades. The chandelier features a centra...

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...

This exquisite pair of Continental decorative vases showcases exceptional Austrian craftsmanship and artistic flair, making them a stunning focal point for any room or decor. Each ur...

Wonderful French Empire gilt ormolu bronze mounted hand-cut crystal covered decorative Bowl. The centerpiece features a bright gilt bronze holding frame with double side handles with finial holding top resting on a footed round base. The diamond cut pattern crystal bowl is sturdily and comfortably seated to the footed gilt...

Louis XVI amaranth marble top side table. A Naples severe Louis XVI commode bedside table with three keyed drawers and purple cream and magenta f...

A Large & Important French 19th C. Louis XVI Style Sevres Porcelain Ormolu Mounted Jardiniere. This magnificent piece is of a baluster form wi...

Dine in timeless elegance with our Porcelain Painted and Gilt Floral Bouquet Decorated Set of Eleven Dinner Plates, a stunning creation from the mid-20th century by Coronet Chinaware...

A large Louis XVI Style French Silvered and Gilt Bronze Putti Mounted crystal centerpiece, Marked Baccarat, from the 1800s. The crystal centerpiece i...

Classic 19th century French Aubusson with an ivory ground. Accents in pink and brown. Overall very good condition. Size: 13'5” wide x 20'7” long Aubusson rugs take its name from th...

A beautiful pair of early 20th-century French side accent chairs in the Louis XVI style, sourced from Provence. Each chair features a hand-crafted maple frame with an elegant oval ba...

A fantastic pair of 19/20th century Louis XVI Style Meissen Models of Golden Oriole birds. Each bird is naturalistically modeled and perched on white birc...

Louis XVI Gilt Bronze and Marble Mantel Clock, late 18th century, of architectural form, the pediment surmounted by an Apollo portrait bust, supporting by tapering columns, centered ...

French Louis XVI style (19th Cent) grey painted loveseat with rounded sides and carved back crest with upholstered back, sides and seat with cushion Condition consistent with age of...

Provincial Louis XVI period cherrywood encoignure / angoliere /corner cabinet with Siena gold marble top; with interior shelf and key, Italy, late 18th century. Dimension: 33.5" W x ...

Attributed to Henry Dasson (d. 1896) Origin: French Date: circa 1885-q890 Dimension: (H) 35 1/4 in x (W) 54 in x (W) 78 in. Provenance: Acquired by Dr. J. T Nieto-Gomez from fi...

1st Shelf 11.75’’ off ground 16’’ at table top.

A Louis XVI Style Gilt Bronze Mounted Japanese Lacquer and Ebony Marble-Top Commode à Vantaux After the Model by Martin Carlin, Paris, Circa 1890 Height 37 x width 60 x depth 21 inc...

This elegant Louis XVI-style bureau plat, crafted from rich mahogany wood and adorned with exquisite ormolu bronze mounts, epitomizes classic French sophistication. The desk features...

French Louis XVI style (20th Century) gilt bronze lantern with a 3 light center within 4 bent glass panels having scroll forms above and below with an acorn finial bottom.

A French Louis XVI-style center table/console table. The apron with inset cast brass guilloché pattern frize below a marquetry inlaid top with bronze edge. The transitional-style leg...

An elegant pair of late 19th century French Louis XVI style side chairs, sourced in Provence. Each chair features a shield-shaped backrest and generous seat, newly upholstered in hig...

This exquisite 18th Century French Ormolu Mounted Sevres Porcelain Centerpiece painted and decorated by Jean-Jacques Pierre, adorned with enchanting early 1800's ormolu dragon handle...

A truly delightful pair of French side accent chairs in the Louis XVI style, sourced from Provence, France. These chairs have a joyful presence—there’s something about their charm th...

Pair of late 19th century French Louis XVI / Marie Antoinette style fauteuils, hand-carved and finished in creamy white paint. The surface shows authentic crackle, chipping, and area...

Pair of 19th-20th century Louis XVI style finely carved armchairs in Gianni Versace Fabric. These spectacular one of a kind antique walnut fauteuils or ...

Six foot six inch long neoclassical wood carved bench in original vintage condition with black leather tripartite upholstered top on eight wood car...

French Louis XVI-style (1940s) ebonized & bronze trim abbatant form desk with a drop front interior above 3 drawers and below a single drawer & a white marble top. (stamped: JANSEN)

A Fabulous and Quite Impressive Pair of French Ormolu Mounted Chinese White Ground Cloisonne Enamel Chrysanthemum Vases. The surfaces are covered in cloisonne enamel decoration set ...

5 French Louis XVI-style (late 20th Century) brass wall sconces with three scroll arms and urn shaped tops. (PRICED EACH).  

Louis XVI Provincial Wall Shelf, With 3 Shelves Over A Tambour Fronted Lower Cabinet, c1800. The sides with 3 graduated cartouche windows flanking the 3 shelves. The tambour opens an...

French Louis XVI-style full size mahogany bed with gilt bronze ormolu mounts & marquetry inlay (includes: headboard, footboard, no rails)

A Highly Important, Monumental, and Rare Pair of 19th Century French Signed Baccarat Opaline Double Overlay Cobalt Blue Cut-To-White Opaline Vases with Hand-Enameled Floral Designs, ...

Louis XVI style French porcelain and gilt gold dore decorative vase pair table lamp. Each lamp features on one side a painted pastoral promenade scenes signed by a famous artist in t...

A magnificent museum quality French 19th century hand-diamond cut crystal and ormolu-mounted Baccarat centerpiece/surtout de table in the Louis XVI style. This is truly an exemplary ...

This charming Louis XVI side chair possesses a remarkable solidity for a piece of its size. Built out of hand carved, painted wood, it is appointed in elegant lines of brass detailing, which perfectly frame its upholstered cushions. Provenance: Private collection of Hubert de Givenchy, Paris. Private collection of Mrs. Susan Gutfreund.

Louis XVI Style Giltwood Mirror, 19th century, with shield and scroll form crest with carved floral border. Mirror plate: 30" H x 20" W; frame: 41" H x 25.5" W x 2" D. Provenance: Pr...

French Louis XVI-style (19th Century) parquetry inlaid drop front secretary abattant with gilt bronze trim and ring hands with 4 drawers below a fitted interior with a leather writin...

A fantastic and beautiful pair of antique 19th century mintons English porcelain Louis XVI style Sevres style blue nouveau ground hand-painted and hand-tooled-gilt, oval-shaped cover...

French Louis XVI-style mahogany roll top desk with rectangular gallery marble top resting above 3 keyed drawers. The roll top reveals a gilt embossed leather desk top, under 3 brass ...

Louis XVI Style Sevres Gilt Bronze Mounted Pink Ground Three Piece Clock Set, late 19th century, the clock centered by a white enamel dial painted with flowers, two handles with masq...

Immerse yourself in the enchanting world of French opulence with this extraordinary 19th century trumeau wall mirror, crafted with meticulous artistry...

A Large Pair of 19th Century French Ormolu Mounted Hand-Diamond Cut Crystal Vases Turned-to-Lamps. Each lamp features hand-diamond cut crystal bodies with a prismatic lattice patter...

Louis XVI Style Ormolu Mounted Mahogany and Tulipwood Parquetry Writing Table, after the model by Jean-Henri Riesener, late 19th century, the parquetry inlaid top with a three-quarte...

This exceptional Louis XVI-style commode, crafted in France around 1820, embodies the elegance and craftsmanship of the early 19th century. Designed to impress, this piece features a...

Gilt bronze and marble side table in Louis XVI style.

Pair of French Provincial (18th Century) walnut doors with 2 small rectangular panels under a large one with carving in corner and wrought iron hardware, finished back. (PRICED AS Pa...

A beautifully restored pair of early 20th-century French Louis XVI style side chairs, sourced from Provence. Each chair features an elegant lyre-shaped back—an iconic neoclassical mo...

French white painted and gilt framed oval oil painting of ladies in garden (DuBois) (19th Century).