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Antique French Louis Revival Giltwood Overmantel Mirror 19th C 156 x 98 cm

Antique French Louis Revival Giltwood Overmantel Mirror 19th C 156 x 98 cm
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  • Antique French Louis Revival Giltwood Overmantel Mirror 19th C 156 x 98 cm
  • Antique French Louis Revival Giltwood Overmantel Mirror 19th C 156 x 98 cm
  • Antique French Louis Revival Giltwood Overmantel Mirror 19th C 156 x 98 cm
  • Antique French Louis Revival Giltwood Overmantel Mirror 19th C 156 x 98 cm
  • Antique French Louis Revival Giltwood Overmantel Mirror 19th C 156 x 98 cm
  • Antique French Louis Revival Giltwood Overmantel Mirror 19th C 156 x 98 cm
  • Antique French Louis Revival Giltwood Overmantel Mirror 19th C 156 x 98 cm
  • Antique French Louis Revival Giltwood Overmantel Mirror 19th C 156 x 98 cm
  • Antique French Louis Revival Giltwood Overmantel Mirror 19th C 156 x 98 cm
  • Antique French Louis Revival Giltwood Overmantel Mirror 19th C 156 x 98 cm
Ref:09278
Price: £2,550.00
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This is a large and impressive very fine quality French giltwood mirror in the manner of Louis XVI and circa 1860 in date.
 
This mirror is richly carved with shell cresting centred by a fan, carved with scrolls with looped edges. The cresting is flanked by foliate terminals above uprights carved with diamond running pattern and foliate sprays with interspersed scallop shells which frame the original rectangular mirror plate.

The quality and craftsmanship of this stunning piece are absolutely superb.
 
Add a touch of French elegance to a special place in your home with this fantastic mirror.
 

Condition:
 
In excellent condition having been beautifully cleaned in our workshops. As antique items, the mirror plate shows signs of use commensurate with age, these minor condition issues are mentioned for accuracy and, as seen in the accompanying photographs, the mirror display beautifully.

Dimensions in cm:

Height 156 x Width 98 x Depth 8

Dimensions in inches:

Height 5 feet, 1 inch x Width 3 feet, 3 inches x Depth 3 inches

The purpose of gilding is to give the appearance of solid gold, a practice that began over 4,000 years ago in Egypt. Paintings from Egyptian tombs from around 2000 B.C. show workers pounding gold into thin sheets to apply to pieces of furniture and coffins. The Greeks applied gilding to statues in around 400 B.C.E., and gilding techniques have continued to be used in Europe, South America, Spain, Britain and the United States.

During the 18th century, Louis XIV of France flaunted his wealth with gilded furnishings, framed artwork and architectural detailing, marking France as a leader in the decorative arts.

There are two methods of true gilding: oil gilding and water gilding.
Oil gilding uses an oil-based product on a prepared surface, and the leaf is gently pressed onto the surface.
Water gilding uses a water-based adhesive that causes the gold leaf to adhere to the surface.

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: 09278

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Delivery and return policy:

We require that someone be home on the agreed delivery day if applicable, otherwise a redelivery fee will apply.

In accordance with Distance Selling Regulations, we offer a 14-day money back guarantee if you are not satisfied with the item.

The item must be returned in its original packaging and condition.

Unless the item is not as described in a material way, the buyer is responsible for return shipping expenses.

Buyers are fully responsible for any customs duties or local taxes that may be incurred on items sent outside of the European Union.