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Antique Pair Louis XV French Rouge Marble Urns c.1860

Antique Pair Louis XV French Rouge Marble Urns
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  • Antique Pair Louis XV French Rouge Marble Urns
  • Antique Pair Louis XV French Rouge Marble Urns
  • Antique Pair Louis XV French Rouge Marble Urns
  • Antique Pair Louis XV French Rouge Marble Urns
  • Antique Pair Louis XV French Rouge Marble Urns
  • Antique Pair Louis XV French Rouge Marble Urns
  • Antique Pair Louis XV French Rouge Marble Urns
  • Antique Pair Louis XV French Rouge Marble Urns
  • Antique Pair Louis XV French Rouge Marble Urns
  • Antique Pair Louis XV French Rouge Marble Urns
  • Antique Pair Louis XV French Rouge Marble Urns
  • Antique Pair Louis XV French Rouge Marble Urns
Ref:07515
Price: £2,750.00
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This is a beautiful antique pair of French marble and gilded bronze urns in the Louis XV manner, circa 1860.

They are made of rouge marble, which has a delightful variegated pattern, and gilded bronze, otherwise known as ormolu.

They are substantial pieces and together weigh 31.8kgs.

The fabulous ormolu mounts comprise bud finials lids, decorative crestings with garlands, and  fruiting laurel with beautiful swan neck handles.

The impressive bodies of the urns rest on elegant shaped ormolu bases.

These lovely urns make a statement and will look fantastic  flanking a mantel or sideboard. A fabulous antique find of the highest quality and sure to be noticed wherever they are displayed.

Condition:

In excellent condition. As antique items, the pieces show signs of use commensurate with age, these minor condition issues are mentioned for accuracy and, as seen in the accompanying photographs, the urns display beautifully.

 

Dimensions in cm:

Height 45 x Width 21 x Depth 18 & Weight 31.8 kg

Dimensions in inches:

Height 1 foot, 6 inches x Width 8 inches x Depth 7 inches & Weight 70.1 lbs

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).

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).

Satinwood

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: 07515

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