Antique French Vernis Martin Vitrine Display Cabinet C1880
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This is a stunning antique French Vernis Martin mahogany vitrine, in the Louis XV manner, Circa 1880 in date, with exquisite hand painted decoration and exquisite ormolu mounts.
The top has serpentine glass sides with a central bow glazed door and two glass shelves. The lower door has a beautiful hand painted panel, the painting depicting a courting couple, and it opens to reveal a capacious cupboard. The side panels have stunning paintings of countryside scenes. We have relined the interior in a stunning burgundy velvet.
It is raised on elegant outswept ormolu mounted legs, and is complete with working locks and keys.
This magnificent piece is in excellent condition and the quality and attention to detail throughout is second to none.
Add a touch of unparalleled style to your home.
In excellent condition having been beautifully restored in our workshops, please see photos for confirmation.
Dimensions in cm:
Height 172 x Width 72 x Depth 39
Dimensions in inches:
Height 5 feet, 8 inches x Width 2 feet, 4 inches x Depth 1 foot, 3 inches
is a lustrous lacquer substitute widely used in the 18th century to decorate furniture and such personal articles as brisé fans, snuffboxes and clocks. The process of adding bronze or gold powder to green varnish was perfected by the French brothers Guillaume and Etienne-Simon Martin, hence its name “Vernis Martin”, as Vernis is French for varnish. It is said to have been made by heating oil, copal and amber and then adding Venetian turpentine and the Martin brothers perfected the process with inclusions in the varnish, sprinkling spangles of silver plated copper wire into the wet varnish ground. Highly praised by Voltaire, it was developed to imitate East Asian lacquerware which was being imported into France during the Louis XV period. Vernis Martin was made in several colours, green, black and a golden red being the most characteristic.
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 copper, brass, 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).
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: 07876
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