A chair that will be photographed is finished differently from one that will only be lived with, and the difference is in how the gold is burnished.
Under a lamp, a softly burnished gilding looks warm and deep. Under the bright, often frontal light used at an event, that same finish can read flat, because the light comes from the same direction as the camera and there are no shadows to give the carving depth.
So on a pair intended to be seen under bright light our artisans burnish harder on the outermost edges - the crest tips, the top of each scroll, the front of the arm volutes - and leave the recesses quieter than usual. That exaggerates the contrast between high and low, and it is what keeps the carving legible when the light is flattening everything.
Tell us how the chairs will mostly be seen and we finish accordingly. It is the same timber, the same carving and the same gold; only the burnishing changes, and it changes a great deal.