Antique Regency Rosewood Brass Inlaid Card Table c.1825
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This rounded rectangular card table is made from beautiful rosewood, the folding top enclosing a green baize lined playing surface. It has fabulous intricate cut brass decoration and the the attention to detail on this piece is second to none!
There is no mistaking its unique quality and design, which is certain to make it a talking point in your home. As such, this card table is sure to take pride of place in your lounge or reception.
In excellent condition having been beautifully restored in our workshops, please see photos for confirmation.
Dimensions in cm:
Height 76 x Width 92 x Depth 46 - when closed
Height 76 x Width 92 x Depth 92 - when opened
Dimensions in inches:
Height 2 feet, 6 inches x Width 3 feet, 0 inches x Depth 1 foot, 6 inches - when closed
Height 2 feet, 6 inches x Width 3 feet, 0 inches x Depth 3 feet, 0 inches - when opened
is a rich warm reddish brown wood that has a distinct grain with dark brown and black outlining. One variety of Rosewood can vary significantly from another even though it is of the same species. These Rosewoods, native of India, South East Asia and Brazil, were dense and awkward to work with. It was renowned for quickly bluntening cutting tools and visibly darkening in colour when over prepared.
The Brazilian species of Rosewood was by far the most beautifully figured and therefore it became the most sought after and rare. This was the wood of choice for the great box makers, David and Thomas Edwards who used it to veneer some of their finest pieces.
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.
Angelica Kauffman, RA (1741 - 1807)
was a Swiss-born Austrian Neoclassical painter who had a successful career in London and Rome. Though born as "Kauffmann", Kauffman is the preferred spelling of her name in English; it is the form she herself used most in signing her correspondence, documents and paintings.
While Kauffman produced many types of art, she identified herself primarily as a history painter, an unusual designation for a woman artist in the 18th century. History painting, was considered the most elite and lucrative category in academic painting during this time period. Under the direction of Sir Joshua Reynolds, the Royal Academy made a strong effort to promote history painting to a native audience who were more interested in commissioning and buying portraits and landscapes.
Despite the popularity that Kauffman enjoyed in British society and her success as an artist, she was disappointed by the relative apathy that the British had towards history painting. Ultimately she left Britain for the continent, where history painting was better established, held in higher esteem and patronized.
The works of Angelica Kauffman have retained their reputation. By 1911, rooms decorated with her work were still to be seen in various quarters. At Hampton Court was a portrait of the duchess of Brunswick; in the National Portrait Gallery, a self-portrait. There were other pictures by her at Paris, at Dresden, in the Hermitage at St Petersburg, in the Alte Pinakothek atMunich, in Kadriorg Palace, Tallinn (Estonia).
is a hard and durable wood with a satinlike sheen, much used in cabinetmaking, especially in marquetry. It comes from two tropical trees of the family Rutaceae (rue family). East Indian or Ceylon satinwood is the yellowish or dark-brown heartwood of Chloroxylon swietenia.
The lustrous, fine-grained, usually figured wood is used for furniture, cabinetwork, veneers, and backs of brushes. West Indian satinwood, sometimes called yellow wood, is considered superior. It is the golden yellow, lustrous, even-grained wood found in the Florida Keys and the West Indies.
It has long been valued for furniture. It is also used for musical instruments, veneers, and other purposes. Satinwood is classified in the division Magnoliophyta, class Magnoliopsida, order Sapindales, family Rutaceae.
Our reference: 07424