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Pair Louis Revival Marble Topped Marquetry Commodes 20th C

Pair Louis Revival Marble Topped Marquetry Commodes 20th C | Ref. no. 05682b | Regent Antiques Sold
Ref: 05682b
Price: £ 0.00
This is a grand pair of Louis revival marble topped 'bombe' marquetry marble topped commodes, dating from the last quarter of the 20th century.

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This is a grand pair of Louis revival marble topped 'bombe' marquetry marble topped commodes, dating from the last quarter of the 20th century.

The beautiful commodes are made from walnut, kingwood and feature exquisite floral marquetry decoration and ormolu mounts. They each have two capacious drawers and striking dark green "Verde Antico"marble tops.

There is no mistaking their unique quality and design and they will soon become the centrepiece of your furniture collection.

Condition:

In excellent condition, please see photos for confirmation of condition.



Dimensions in cm:

Height 94 x Width 133 x Depth 63

Dimensions in inches:

Height 3 feet, 1 inch x Width 4 feet, 4 inches x Depth 2 feet, 1 inch

Our reference: 05682b

Walnut
The Walnut woods are probably the most recognisable and popular of all the exotic woods, having been used in furniture making for many centuries. Walnut veneer was highly priced and the cost would reflect the ‘fanciness’ of the veneer – the more decorative, then the more expensive and desirable.

Figured Walnut and Burr Walnut (often referred to as Burl Walnut) were considered as the most attractive varieties of Walnut. Burr Walnut veneer was taken from the specific part of the tree where ‘growths’ sprouting smaller branches and/ or roots would occur. As these ‘growth’ areas were limited in both occurrence and size, larger veneers were hard to source and often on bigger furniture (tables, desks, bureaus, cabinets etc), these veneers would have to be carefully joined by matching up the pieces or blending them together.


Marquetry
is decorative artistry where pieces of material (such as wood, mother of pearl, pewter, brass silver or shell) of different colours are inserted into surface wood veneer to form intricate patterns such as scrolls or flowers.


The technique of veneered marquetry had its inspiration in 16th century Florence. Marquetry elaborated upon Florentine techniques of inlaying solid marble slabs with designs formed of fitted marbles, jaspers and semi-precious stones. This work, called opere di commessi, has medieval parallels in Central Italian "Cosmati"-work of inlaid marble floors, altars and columns. The technique is known in English as pietra dura, for the "hardstones" used: onyx, jasper, cornelian, lapis lazuli and colored marbles. In Florence, the Chapel of the Medici at San Lorenzo is completely covered in a colored marble facing using this demanding jig-sawn technique.

Techniques of wood marquetry were developed in Antwerp and other Flemish centers of luxury cabinet-making during the early 16th century. The craft was imported full-blown to France after the mid-seventeenth century, to create furniture of unprecedented luxury being made at the royal manufactory of the Gobelins, charged with providing furnishings to decorate Versailles and the other royal residences of Louis XIV. Early masters of French marquetry were the Fleming Pierre Golle and his son-in-law, André-Charles Boulle, who founded a dynasty of royal and Parisian cabinet-makers (ébénistes) and gave his name to a technique of marquetry employing shell and brass with pewter in arabesque or intricately foliate designs.


Ormolu (from French 'or moulu', signifying ground or pounded gold) is an 18th-century English term for applying finely ground, high-carat gold in a mercury amalgam to an object of bronze.The mercury is driven off in a kiln leaving behind a gold-coloured veneer known as 'gilt bronze'.

The manufacture of true ormolu employs a process known as mercury-gilding or fire-gilding, in which a solution of nitrate of mercury is applied to a piece of copperbrass, or bronze, followed by the application of an amalgam of gold and mercury. The item was then exposed to extreme heat until the mercury burned off and the gold remained, adhered to the metal object.

No true ormolu was produced in France after around 1830 because legislation had outlawed the use of mercury. Therefore, other techniques were used instead but nothing surpasses the original mercury-firing ormolu method for sheer beauty and richness of colour. Electroplating is the most common modern technique. Ormolu techniques are essentially the same as those used on silver, to produce silver-gilt (also known as vermeil).


 

Dimensions in cm:

Height 94 x Width 133 x Depth 63

Dimensions in inches:

Height 3 feet, 1 inch x Width 4 feet, 4 inches x Depth 2 feet, 1 inch

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