Pair of small « verre eglomisé » plates
- Description
- Histoire
France, 18th century
Gold, silver, and red pigments on verre églomisé plates
Gilt, chased, and openwork metal
Yellow curtains plate:
Height: 15 cm – 6 inches
Height (with frame): 18 cm – 7 inches Width: 11.8 cm – 4 2⁄3 inches
Width (with frame): 14.5 cm – 5 3⁄4 inches
Red curtains plate:
Height: 15 cm – 6 inches
Height (with frame): 18 cm – 7 inches Width: 11.2 cm – 4 1⁄3 inches
Width (with frame): 14.5 cm – 5 3⁄4 inches
Comparable example
- After Jean-Baptiste or Antoine Monnoyer, pair of verre églomisé pieces, first half of the 18th century, private collection.
These two verre églomisé plates, set against a black background, each depict a majestic flower bouquet placed on a gilded wood console table with a white marble top, in front of an open window embrasure. The console tables are positioned against a wall with a red faux-marble finish. Rich red damask curtains with gold threads, acting as repoussoirs, frame each still life. Although similar in appearance, the two compositions differ in their details. On the first plate, where the open window embrasure appears on the right side of the composition, the first golden bouquet is arranged in a basket, standing on a console table typical of the Louis XIV period, as suggested by the distinctive baluster-shaped leg. The second plate presents a symmetrical composition to the first, with the window embrasure visible on the left. The bouquet is arranged in a glass vase, placed on a later console table, dated from the Régence period, what is identifiable by the masks decorating the tops of the console legs. These verre églomisé plates are remarkable for their rich composition, but also for their colors, which combines a range of red tones, white highlights, and gold leaf motifs. Each miniature painting is set/ housed in a finely chiseled and openwork gilt metal frame.
Bibliography
- F. Sydney Eden, “Verre églomisé”, The Connoisseur, no. 32, June 1932.
- Rudy Eswarin, “Terminology of verre églomisé”, Journal of Glass Studies, Vol. 21, 1975.
- Jeannine Geyssant, “Glass, Brilliance and Light: The Fascination and Charm of Reverse Glass Paintings.” Sèvres: Journal of the Society of Friends of the National Museum of Ceramics, no. 18, 2009, 50–56.
- Jeannine Geyssant, Berno Heymer, “The Enigma of the Vispré Brothers: Reverse Glass Painters in the 18th Century.” L’Estampille – L’Objet d’Art, no. 442, January 2009, 46–53.
- Paul Guth, “Toute la vérité sur le verre églomisé”, Connaissance des Arts, no. 66, August 1957, p. 28.
- W.B Honey, “Gold engraving under glass”, The Connoisseur, no. 92, December 1933.
- Julia Weber, David Babin, “La porcelaine au service de la diplomatie. Les échanges de présents entre Dresde et Versailles”, in Sèvres. Revue de la Société des Amis du musée national de Céramique, no. 16, 2007, pp. 51–56.
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