Antique French Louis XV Revival Marquetry Bureau c.1870
This is a gorgeous antique French kingwood & rosewood marquetry Louis XV Revival secretaire a cylindre, circa 1870 in date.
It is decorated throughout with beautiful floral marquetry and has a stunning marquetry panel of birds and musical instruments, finished in exotic woods on a rosewood background, in the centre of the cylinder.
It has a beautiful inset Marmo di Carrara marble top with a gilt brass three quarter gallery around it.
The cylinder opens to reveal a fitted interior with four small drawers and a pull out writing surface fitted with the original inset leather, so there is ample space to write your letters.
Below the cylinder are three small drawers above a single full width drawer so there is space for all your pens paper and envelopes.
The bureau has its original ormolu handles and mounts and stands on gorgeous ormolu mounted cabriole legs.
With working locks and original keys.
It is a fabulous decorative piece which will look amazing wherever you decide to place it.
In excellent condition having been beautifully restored in our workshops, please see photos for confirmation.
Dimensions in cm:
Height 102 x Width 72 x Depth 43
Dimensions in inches:
Height 40.2 x Width 28.3 x Depth 16.9
Kingwood - is a classic furniture wood, almost exclusively used for inlays on very fine furniture. Occasionally it is used in the solid for small items and turned work, including parts of billiard cues, e.g., those made by John Parris. It is brownish-purple with many fine darker stripes and occasional irregular swirls. Occasionally it contains pale streaks of a similar colour to sapwood.
The wood is very dense and hard and can be brought to a spectacular finish. it turns well but due to its density and hardness can be difficult to work with hand tools. It also has a tendency to blunt the tools due to its abrasive properties.
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 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).
Is a type of white or blue-grey marble popular for use in sculpture and building decor. It is quarried at the city of Carrara in the province of Massa-Carrara (Tuscany, Italy).
Carrara marble has been used since the time of Ancient Rome; the Pantheon and Trajan's Column in Rome are constructed of it. Many sculptures of the Renaissance, such as Michelangelo's David, were carved from Carrara marble. For Michelangelo at least, Carrara marble was valued above all other stone, except perhaps that of his own quarry in Pietrasanta. The Marble Arch in London and the Duomo di Siena are also made from this stone, as are the interiors of Manila Cathedral, the cold-white marbles of the Sheikh Zayed Mosque and the campus of Harvard Medical School.
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.
Our reference: 07557