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Pair Fantastic Rococo Style Console Tables Mirrors

Pair Fantastic Rococo Style Console Tables Mirrors

Pair Fantastic Rococo Style Console Tables Mirrors

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About this item

This is a highly ornate and absolutely stunning pair of Rococo revival carved giltwood console tables with matching mirrors, dating from the late 20th Century.

Both the console and marginal side plate mirrors are richly decorated with foliate and floral ornamentation, scrolling cartouche crests and acanthus leaves. The consoles feature attractive green 'Verde Antico' marble tops of the highest quality. 

There is no mistaking the superb quality and suave design of this pair, which is certain to transform a special place in your home.

Condition:

In excellent condition, please see photos for confirmation.

Dimensions in cm:

Height 264 x Width 170 x Depth 55

Dimensions in inches:

Height 8 feet, 8 inches x Width 5 feet, 7 inches x Depth 1 foot, 10 inches

ococo
Although Rococo is usually thought of as developing first in the decorative arts and interior design, its origins lie in the late Baroque architectural work of Borromini (1599-1667) mostly in Rome and Guarini (1624-1683) mostly in Northern Italy but also in Vienna, Prague, Lisbon, and Paris. Italian architects of the late Baroque/early Rococo were wooed to Catholic (Southern) Germany, Bohemia and Austria by local princes, bishops and prince-bishops. Inspired by their example, regional families of Central European builders went further, creating churches and palaces that took the local German Baroque style to the greatest heights of Rococo elaboration and sensation.
An exotic but in some ways more formal type of Rococo appeared in France where Louis XIV's succession brought a change in the court artists and general artistic fashion. By the end of the king's long reign, rich Baroque designs were giving way to lighter elements with more curves and natural patterns. These elements are obvious in the architectural designs of Nicolas Pineau. During the Régence, court life moved away from Versailles and this artistic change became well established, first in the royal palace and then throughout French high society.
 
An exotic but in some ways more formal type of Rococo appeared in France where Louis XIV's succession brought a change in the court artists and general artistic fashion. By the end of the king's long reign, rich Baroque designs were giving way to lighter elements with more curves and natural patterns. These elements are obvious in the architectural designs of Nicolas Pineau. During the Régence, court life moved away from Versailles and this artistic change became well established, first in the royal palace and then throughout French high society.
The delicacy and playfulness of Rococo designs is often seen as perfectly in tune with the excesses of Louis XV's reign.
 
The 1730s represented the height of Rococo development in France. The style had spread beyond architecture and furniture to painting and sculpture, exemplified by the works of Antoine Watteau and François Boucher. Rococo still maintained the Baroque taste for complex forms and intricate patterns, but by this point, it had begun to integrate a variety of diverse characteristics, including a taste for Oriental designs and asymmetric compositions. The Rococo style was spread by French artists and engraved publications.
 
In Great Britain, Rococo was always thought of as the "French taste" and was never widely adopted as an architectural style, although its influence was strongly felt in such areas as silverwork, porcelain, and silks, and Thomas Chippendale transformed British furniture design through his adaptation and refinement of the style. William Hogarth helped develop a theoretical foundation for Rococo beauty. Though not intentionally referencing the movement, he argued in his Analysis of Beauty (1753) that the undulating lines and S-curves prominent in Rococo were the basis for grace and beauty in art or nature (unlike the straight line or the circle in Classicism). The development of Rococo in Great Britain is considered to have been connected with the revival of interest in Gothic architecture early in the 18th century. 

Mirrors
are commonly used for personal grooming or admiring oneself (in which case the archaic term looking-glass is sometimes still used), decoration, and architecture.

The earliest manufactured mirrors were pieces of polished stone such as obsidian, a naturally occurring volcanic glass. In classical antiquity, mirrors were made of solid metal (bronze, later silver) and were too expensive for widespread use by common people; they were also prone to corrosion. Due to the low reflectivity of polished metal, these mirrors also gave a darker image than modern ones, making them unsuitable for indoor use with the artificial lighting of the time.

The method of making mirrors out of plate glass was invented by 16th-century Venetian glassmakers on the island of Murano, who covered the back of the glass with mercury, obtaining near-perfect and undistorted reflection. For over one hundred years, Venetian mirrors installed in richly decorated frames served as luxury decorations for palaces throughout Europe, but the secret of the mercury process eventually arrived in London and Paris during the 17th century, due to industrial espionage. French workshops succeeded in large scale industrialization of the process, eventually making mirrors affordable to the masses.

Dimensions

W170.0 x H264.0 x D55.0 cm

Condition

Used

Date of manufacture

Unknown

Period

Unknown

Seller

VAT status

Seller is VAT registered

SKU

58357730
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