{"id":2267,"date":"2025-11-25T15:00:04","date_gmt":"2025-11-25T14:00:04","guid":{"rendered":"https:\/\/youngcollectors.galerieleage.com\/?post_type=product&p=2267"},"modified":"2026-04-01T16:52:14","modified_gmt":"2026-04-01T14:52:14","slug":"pair-of-small-verre-eglomise-plates","status":"publish","type":"product","link":"https:\/\/youngcollectors.galerieleage.com\/en\/object\/pair-of-small-verre-eglomise-plates\/","title":{"rendered":"Pair of small \u00ab verre eglomis\u00e9 \u00bb plates"},"content":{"rendered":"
\n
\n
\n

These two verre \u00e9glomis\u00e9 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 R\u00e9gence period, what is identifiable by the masks decorating the tops of the console legs. These verre \u00e9glomis\u00e9 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.<\/p>\n<\/div>\n<\/div>\n<\/div>\n","protected":false},"excerpt":{"rendered":"

\n
\n
\n

France, 18th<\/sup> century<\/p>\n

Gold, silver, and red pigments on verre \u00e9glomis\u00e9 plates<\/p>\n

Gilt, chased, and openwork metal<\/p>\n<\/div>\n<\/div>\n<\/div>\n","protected":false},"featured_media":2844,"template":"","meta":{"_acf_changed":false,"wp_typography_post_enhancements_disabled":false,"_yc_description_objet":"","_yc_histoire_objet":"","_yc_etat_objet":""},"product_brand":[],"product_cat":[28],"product_tag":[],"class_list":{"0":"post-2267","1":"product","2":"type-product","3":"status-publish","4":"has-post-thumbnail","6":"product_cat-non-categorise","8":"first","9":"instock","10":"taxable","11":"shipping-taxable","12":"product-type-simple"},"acf":{"cartel":{"simple_value_formatted":"

France, 18th century<\/p>\n

Gold, silver, and red pigments on verre \u00e9glomis\u00e9 plates<\/p>\n

Gilt, chased, and openwork metal<\/p>\n","value_formatted":"

France, 18th century<\/p>\r\n

Gold, silver, and red pigments on verre \u00e9glomis\u00e9 plates<\/p>\r\n

Gilt, chased, and openwork metal<\/p>","value":"

France, 18th century<\/p>\r\n

Gold, silver, and red pigments on verre \u00e9glomis\u00e9 plates<\/p>\r\n

Gilt, chased, and openwork metal<\/p>","field":{"ID":781,"key":"field_67f661144735a","label":"Cartel","name":"cartel","aria-label":"","prefix":"acf","type":"wysiwyg","value":null,"menu_order":0,"instructions":"","required":0,"id":"","class":"","conditional_logic":0,"parent":614,"wrapper":{"width":"","class":"","id":""},"wp-typography":"content","default_value":"","tabs":"all","toolbar":"full","media_upload":1,"delay":0,"wpml_cf_preferences":2,"_name":"cartel","_valid":1}},"dimensions":{"simple_value_formatted":"

\n
\n
\n

 <\/p>\n

Yellow curtains plate:<\/strong>
\nHeight: 15 cm \u2013 6 inches
\nHeight (with frame): 18 cm \u2013 7 inches Width: 11.8 cm \u2013 4 2\/3 inches
\nWidth (with frame): 14.5 cm \u2013 5 3\u20444 inches<\/p>\n

 <\/p>\n

Red curtains plate:<\/strong>
\nHeight: 15 cm \u2013 6 inches
\nHeight (with frame): 18 cm \u2013 7 inches Width: 11.2 cm \u2013 4 1\/3 inches
\nWidth (with frame): 14.5 cm \u2013 5 3\u20444 inches<\/p>\n

 <\/p>\n<\/div>\n<\/div>\n<\/div>\n","value_formatted":"

\r\n
\r\n
\r\n\r\n \r\n

Yellow curtains plate:<\/strong>\r\nHeight: 15 cm \u2013 6 inches\r\nHeight (with frame): 18 cm \u2013 7 inches Width: 11.8 cm \u2013 4 2\/3 inches\r\nWidth (with frame): 14.5 cm \u2013 5 3\u20444 inches<\/p>\r\n \r\n

Red curtains plate:<\/strong>\r\nHeight: 15 cm \u2013 6 inches\r\nHeight (with frame): 18 cm \u2013 7 inches Width: 11.2 cm \u2013 4 1\/3 inches\r\nWidth (with frame): 14.5 cm \u2013 5 3\u20444 inches<\/p>\r\n \r\n\r\n<\/div>\r\n<\/div>\r\n<\/div>","value":"

\r\n
\r\n
\r\n\r\n \r\n

Yellow curtains plate:<\/strong>\r\nHeight: 15 cm \u2013 6 inches\r\nHeight (with frame): 18 cm \u2013 7 inches Width: 11.8 cm \u2013 4 2\/3 inches\r\nWidth (with frame): 14.5 cm \u2013 5 3\u20444 inches<\/p>\r\n \r\n

Red curtains plate:<\/strong>\r\nHeight: 15 cm \u2013 6 inches\r\nHeight (with frame): 18 cm \u2013 7 inches Width: 11.2 cm \u2013 4 1\/3 inches\r\nWidth (with frame): 14.5 cm \u2013 5 3\u20444 inches<\/p>\r\n \r\n\r\n<\/div>\r\n<\/div>\r\n<\/div>","field":{"ID":782,"key":"field_67f661254735b","label":"Dimensions","name":"dimensions","aria-label":"","prefix":"acf","type":"wysiwyg","value":null,"menu_order":1,"instructions":"","required":0,"id":"","class":"","conditional_logic":0,"parent":614,"wrapper":{"width":"","class":"","id":""},"wpml_cf_preferences":2,"wp-typography":"content","default_value":"","tabs":"all","toolbar":"full","media_upload":1,"delay":0,"_name":"dimensions","_valid":1}},"exemples_comparables":{"simple_value_formatted":"

\n
\n
\n

Comparable example<\/h3>\n
    \n
  • After Jean-Baptiste or Antoine Monnoyer, pair of verre \u00e9glomis\u00e9 pieces, first half of the 18th century, private collection.<\/li>\n<\/ul>\n

     <\/p>\n<\/div>\n<\/div>\n<\/div>\n","value_formatted":"

    \r\n
    \r\n
    \r\n

    Comparable example<\/h3>\r\n
      \r\n \t
    • After Jean-Baptiste or Antoine Monnoyer, pair of verre \u00e9glomis\u00e9 pieces, first half of the 18th century, private collection.<\/li>\r\n<\/ul>\r\n \r\n\r\n<\/div>\r\n<\/div>\r\n<\/div>","value":"
      \r\n
      \r\n
      \r\n

      Comparable example<\/h3>\r\n
        \r\n \t
      • After Jean-Baptiste or Antoine Monnoyer, pair of verre \u00e9glomis\u00e9 pieces, first half of the 18th century, private collection.<\/li>\r\n<\/ul>\r\n \r\n\r\n<\/div>\r\n<\/div>\r\n<\/div>","field":{"ID":783,"key":"field_67f661484735c","label":"Exemples comparables","name":"exemples_comparables","aria-label":"","prefix":"acf","type":"wysiwyg","value":null,"menu_order":2,"instructions":"","required":0,"id":"","class":"","conditional_logic":0,"parent":614,"wrapper":{"width":"","class":"","id":""},"wp-typography":"content","default_value":"","tabs":"all","toolbar":"full","media_upload":1,"delay":0,"wpml_cf_preferences":2,"_name":"exemples_comparables","_valid":1}},"exemples_vraisemblablement_identiques":{"simple_value_formatted":"","value_formatted":"","value":"","field":{"ID":786,"key":"field_67f662067360c","label":"Exemples vraisemblablement identiques","name":"exemples_vraisemblablement_identiques","aria-label":"","prefix":"acf","type":"wysiwyg","value":null,"menu_order":3,"instructions":"","required":0,"id":"","class":"","conditional_logic":0,"parent":614,"wrapper":{"width":"","class":"","id":""},"wp-typography":"content","default_value":"","tabs":"all","toolbar":"full","media_upload":1,"delay":0,"wpml_cf_preferences":2,"_name":"exemples_vraisemblablement_identiques","_valid":1}},"publications":{"simple_value_formatted":"","value_formatted":"","value":"","field":{"ID":784,"key":"field_67f661604735d","label":"Publications","name":"publications","aria-label":"","prefix":"acf","type":"wysiwyg","value":null,"menu_order":4,"instructions":"","required":0,"id":"","class":"","conditional_logic":0,"parent":614,"wrapper":{"width":"","class":"","id":""},"wp-typography":"content","default_value":"","tabs":"all","toolbar":"full","media_upload":1,"delay":0,"wpml_cf_preferences":2,"_name":"publications","_valid":1}},"description_de_lobjet":{"simple_value_formatted":"

        These two verre \u00e9glomis\u00e9 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 R\u00e9gence period, what is identifiable by the masks decorating the tops of the console legs. These verre \u00e9glomis\u00e9 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.<\/p>\n","value_formatted":"These two verre \u00e9glomis\u00e9 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 R\u00e9gence period, what is identifiable by the masks decorating the tops of the console legs. These verre \u00e9glomis\u00e9 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.","value":"These two verre \u00e9glomis\u00e9 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 R\u00e9gence period, what is identifiable by the masks decorating the tops of the console legs. These verre \u00e9glomis\u00e9 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.","field":{"ID":615,"key":"field_67e67d7bae7bc","label":"Description de l'objet","name":"description_de_lobjet","aria-label":"","prefix":"acf","type":"wysiwyg","value":null,"menu_order":5,"instructions":"","required":0,"id":"","class":"","conditional_logic":0,"parent":614,"wrapper":{"width":"","class":"","id":""},"default_value":"","tabs":"all","toolbar":"full","media_upload":1,"delay":0,"wpml_cf_preferences":2,"_name":"description_de_lobjet","_valid":1}},"histoire_de_lobjet":{"simple_value_formatted":"

        \n
        \n
        \n

        The verre \u00e9glomis\u00e9 technique<\/h3>\n

         <\/p>\n

        Appearing as early as the Roman era, the \u00e9glomis\u00e9 technique is a particular category of glass painting. It consists of decorating a glass plate on its worked reverse side, using gilding or different colors. The contours of the designs are drawn with an agate pencil, then the decoration is applied. It is not fixed with heat but is protected by another glass plate, a layer of varnish, or a layer of tin.
        \nThe process was used many times during the Middle Ages and the Renaissance. This technique was brought back to prominence by Jean-Baptiste Glomy (1711-1786), a print merchant, designer, engraver, and expert in sales in Paris in the 18th century. Associated with the merchant Helle, he published a catalog of Rembrandt's etchings. Glomy notably used this process to frame his engravings by surrounding them with a gold border, which later gave its name to the technique of gold-painted glass.
        \nThe technique of painting under glass, or rather \"through the glass,\" should be said, since the subject is seen in transparency, is in itself already a huge challenge. The artist is forced to reverse the creative process, that is, from the foreground to the background, or even from detailed elements to the background. But mistakes are not allowed, as it is impossible to make any corrections to the subject painted on glass.<\/p>\n

         <\/p>\n

        The Motif of the Flower Bouquet<\/h3>\n

         <\/p>\n

        Bouquets and baskets of flowers are a recurring motif throughout art history. Already represented in mosaics during Antiquity, this theme took on renewed significance during the Renaissance, particularly in the vanitas paintings of the Northern schools. These allegorical works, inviting reflection on the fragility of human life and the futility of human attachments, used fruits and flowers as symbols of time\u2019s passing. Painted with naturalistic precision, they bloom and wither on canvas in a vibrant interplay of colors, light, and shadow, serving both as moral objects and demonstrations of artistic mastery\u2014as illustrated by the oil on copper attributed to Ambrosius Bosschaert (inv. RF 1984 150), on display at the Louvre. Flemish masters excelled in this genre during the Golden Age.<\/p>\n

        In the early 18th century, bouquets and flower baskets gradually lost their symbolic dimension in favor of their decorative appeal. Nevertheless, the language of flowers remained a common visual code in paintings. Interest in arranged natural landscapes\u2014such as the jardins \u00e0 la fran\u00e7aise of Versailles\u2014 paralleled with advances in botany. Greenhouses and orangeries allowed exotic and European flowers to bloom year-round, which were then gathered into bouquets, that brought the garden indoors.<\/p>\n<\/div>\n<\/div>\n<\/div>\n

        \n
        \n
        \n

        At the same time, the decorative arts became embraced artificial flowers, molded and painted from life. These floral designs appeared across a wide range of medium: marquetry, tableware, porcelain sculptures (e.g., Jean-Claude Duplessis and Claude Le Boitteux, Bouquet de la Dauphine, 1748, Dresden, Staatliche Kunstsammlungen, inv. PE 707), miniature paintings made from rare and diverse materials (mosaic, mother-of-pearl, shells), and tapestry. They also adorned precious small objects such as watches, snuffboxes, and fix\u00e9 sous verre paintings like the verre \u00e9glomis\u00e9 pieces.<\/p>\n

        In the second half of the 18th century, Victor Vispr\u00e9, a member of The Hague painters' guild, gained recognition for his still life paintings under glass. His works, purely decorative, were in highly sought after Paris. S\u00e9bastien Le Clerc, painter to the King, owned two; the Marquise de Pompadour had one; and Augustin Blondel de Gagny owned two as well.<\/p>\n

        These verre \u00e9glomis\u00e9 plates are particularly remarkable for their compositions, which recall 17th-century Northern still lifes arranged in niches, as well as for their shimmering colors.<\/p>\n

        Like real little paintings, these two verre eglomis\u00e9 plates depict rich interior scenes. In a play of symmetry, a finely decorated apartment is described : sumptuous damasks trimmed with passementeries frame the scene, reminiscent of the most refined interiors of the time. Arranged on richly carved console tables, reflecting the contemporary productions of the greatest joiners, these bouquets take place in interiors typical of the Age of Enlightenment.<\/p>\n<\/div>\n<\/div>\n<\/div>\n","value_formatted":"

        \r\n
        \r\n
        \r\n

        The verre \u00e9glomis\u00e9 technique<\/h3>\r\n \r\n\r\nAppearing as early as the Roman era, the \u00e9glomis\u00e9 technique is a particular category of glass painting. It consists of decorating a glass plate on its worked reverse side, using gilding or different colors. The contours of the designs are drawn with an agate pencil, then the decoration is applied. It is not fixed with heat but is protected by another glass plate, a layer of varnish, or a layer of tin.\r\nThe process was used many times during the Middle Ages and the Renaissance. This technique was brought back to prominence by Jean-Baptiste Glomy (1711-1786), a print merchant, designer, engraver, and expert in sales in Paris in the 18th century. Associated with the merchant Helle, he published a catalog of Rembrandt's etchings. Glomy notably used this process to frame his engravings by surrounding them with a gold border, which later gave its name to the technique of gold-painted glass.\r\nThe technique of painting under glass, or rather \"through the glass,\" should be said, since the subject is seen in transparency, is in itself already a huge challenge. The artist is forced to reverse the creative process, that is, from the foreground to the background, or even from detailed elements to the background. But mistakes are not allowed, as it is impossible to make any corrections to the subject painted on glass.\r\n\r\n \r\n

        The Motif of the Flower Bouquet<\/h3>\r\n \r\n\r\nBouquets and baskets of flowers are a recurring motif throughout art history. Already represented in mosaics during Antiquity, this theme took on renewed significance during the Renaissance, particularly in the vanitas paintings of the Northern schools. These allegorical works, inviting reflection on the fragility of human life and the futility of human attachments, used fruits and flowers as symbols of time\u2019s passing. Painted with naturalistic precision, they bloom and wither on canvas in a vibrant interplay of colors, light, and shadow, serving both as moral objects and demonstrations of artistic mastery\u2014as illustrated by the oil on copper attributed to Ambrosius Bosschaert (inv. RF 1984 150), on display at the Louvre. Flemish masters excelled in this genre during the Golden Age.\r\n\r\nIn the early 18th century, bouquets and flower baskets gradually lost their symbolic dimension in favor of their decorative appeal. Nevertheless, the language of flowers remained a common visual code in paintings. Interest in arranged natural landscapes\u2014such as the jardins \u00e0 la fran\u00e7aise of Versailles\u2014 paralleled with advances in botany. Greenhouses and orangeries allowed exotic and European flowers to bloom year-round, which were then gathered into bouquets, that brought the garden indoors.\r\n\r\n<\/div>\r\n<\/div>\r\n<\/div>\r\n
        \r\n
        \r\n
        \r\n\r\nAt the same time, the decorative arts became embraced artificial flowers, molded and painted from life. These floral designs appeared across a wide range of medium: marquetry, tableware, porcelain sculptures (e.g., Jean-Claude Duplessis and Claude Le Boitteux, Bouquet de la Dauphine, 1748, Dresden, Staatliche Kunstsammlungen, inv. PE 707), miniature paintings made from rare and diverse materials (mosaic, mother-of-pearl, shells), and tapestry. They also adorned precious small objects such as watches, snuffboxes, and fix\u00e9 sous verre paintings like the verre \u00e9glomis\u00e9 pieces.\r\n\r\nIn the second half of the 18th century, Victor Vispr\u00e9, a member of The Hague painters' guild, gained recognition for his still life paintings under glass. His works, purely decorative, were in highly sought after Paris. S\u00e9bastien Le Clerc, painter to the King, owned two; the Marquise de Pompadour had one; and Augustin Blondel de Gagny owned two as well.\r\n\r\nThese verre \u00e9glomis\u00e9 plates are particularly remarkable for their compositions, which recall 17th-century Northern still lifes arranged in niches, as well as for their shimmering colors.\r\n\r\nLike real little paintings, these two verre eglomis\u00e9 plates depict rich interior scenes. In a play of symmetry, a finely decorated apartment is described : sumptuous damasks trimmed with passementeries frame the scene, reminiscent of the most refined interiors of the time. Arranged on richly carved console tables, reflecting the contemporary productions of the greatest joiners, these bouquets take place in interiors typical of the Age of Enlightenment.\r\n\r\n<\/div>\r\n<\/div>\r\n<\/div>","value":"
        \r\n
        \r\n
        \r\n

        The verre \u00e9glomis\u00e9 technique<\/h3>\r\n \r\n\r\nAppearing as early as the Roman era, the \u00e9glomis\u00e9 technique is a particular category of glass painting. It consists of decorating a glass plate on its worked reverse side, using gilding or different colors. The contours of the designs are drawn with an agate pencil, then the decoration is applied. It is not fixed with heat but is protected by another glass plate, a layer of varnish, or a layer of tin.\r\nThe process was used many times during the Middle Ages and the Renaissance. This technique was brought back to prominence by Jean-Baptiste Glomy (1711-1786), a print merchant, designer, engraver, and expert in sales in Paris in the 18th century. Associated with the merchant Helle, he published a catalog of Rembrandt's etchings. Glomy notably used this process to frame his engravings by surrounding them with a gold border, which later gave its name to the technique of gold-painted glass.\r\nThe technique of painting under glass, or rather \"through the glass,\" should be said, since the subject is seen in transparency, is in itself already a huge challenge. The artist is forced to reverse the creative process, that is, from the foreground to the background, or even from detailed elements to the background. But mistakes are not allowed, as it is impossible to make any corrections to the subject painted on glass.\r\n\r\n \r\n

        The Motif of the Flower Bouquet<\/h3>\r\n \r\n\r\nBouquets and baskets of flowers are a recurring motif throughout art history. Already represented in mosaics during Antiquity, this theme took on renewed significance during the Renaissance, particularly in the vanitas paintings of the Northern schools. These allegorical works, inviting reflection on the fragility of human life and the futility of human attachments, used fruits and flowers as symbols of time\u2019s passing. Painted with naturalistic precision, they bloom and wither on canvas in a vibrant interplay of colors, light, and shadow, serving both as moral objects and demonstrations of artistic mastery\u2014as illustrated by the oil on copper attributed to Ambrosius Bosschaert (inv. RF 1984 150), on display at the Louvre. Flemish masters excelled in this genre during the Golden Age.\r\n\r\nIn the early 18th century, bouquets and flower baskets gradually lost their symbolic dimension in favor of their decorative appeal. Nevertheless, the language of flowers remained a common visual code in paintings. Interest in arranged natural landscapes\u2014such as the jardins \u00e0 la fran\u00e7aise of Versailles\u2014 paralleled with advances in botany. Greenhouses and orangeries allowed exotic and European flowers to bloom year-round, which were then gathered into bouquets, that brought the garden indoors.\r\n\r\n<\/div>\r\n<\/div>\r\n<\/div>\r\n
        \r\n
        \r\n
        \r\n\r\nAt the same time, the decorative arts became embraced artificial flowers, molded and painted from life. These floral designs appeared across a wide range of medium: marquetry, tableware, porcelain sculptures (e.g., Jean-Claude Duplessis and Claude Le Boitteux, Bouquet de la Dauphine, 1748, Dresden, Staatliche Kunstsammlungen, inv. PE 707), miniature paintings made from rare and diverse materials (mosaic, mother-of-pearl, shells), and tapestry. They also adorned precious small objects such as watches, snuffboxes, and fix\u00e9 sous verre paintings like the verre \u00e9glomis\u00e9 pieces.\r\n\r\nIn the second half of the 18th century, Victor Vispr\u00e9, a member of The Hague painters' guild, gained recognition for his still life paintings under glass. His works, purely decorative, were in highly sought after Paris. S\u00e9bastien Le Clerc, painter to the King, owned two; the Marquise de Pompadour had one; and Augustin Blondel de Gagny owned two as well.\r\n\r\nThese verre \u00e9glomis\u00e9 plates are particularly remarkable for their compositions, which recall 17th-century Northern still lifes arranged in niches, as well as for their shimmering colors.\r\n\r\nLike real little paintings, these two verre eglomis\u00e9 plates depict rich interior scenes. In a play of symmetry, a finely decorated apartment is described : sumptuous damasks trimmed with passementeries frame the scene, reminiscent of the most refined interiors of the time. Arranged on richly carved console tables, reflecting the contemporary productions of the greatest joiners, these bouquets take place in interiors typical of the Age of Enlightenment.\r\n\r\n<\/div>\r\n<\/div>\r\n<\/div>","field":{"ID":617,"key":"field_67e67ebc1f746","label":"Histoire de l'objet","name":"histoire_de_lobjet","aria-label":"","prefix":"acf","type":"wysiwyg","value":null,"menu_order":6,"instructions":"","required":0,"id":"","class":"","conditional_logic":0,"parent":614,"wrapper":{"width":"","class":"","id":""},"default_value":"","allow_in_bindings":0,"tabs":"all","toolbar":"full","media_upload":1,"delay":0,"wpml_cf_preferences":2,"_name":"histoire_de_lobjet","_valid":1}},"bibliographie":{"simple_value_formatted":"
        \n
        \n
        \n

         <\/p>\n

        Bibliography<\/h3>\n
          \n
        • F. Sydney Eden, \u201cVerre \u00e9glomis\u00e9\u201d, The Connoisseur, no. 32, June 1932.<\/li>\n
        • Rudy Eswarin, \u201cTerminology of verre \u00e9glomis\u00e9\u201d, Journal of Glass Studies, Vol. 21, 1975.<\/li>\n
        • Jeannine Geyssant, \u201cGlass, Brilliance and Light: The Fascination and Charm of Reverse Glass Paintings.\u201d S\u00e8vres: Journal of the Society of Friends of the National Museum of Ceramics, no. 18, 2009, 50\u201356.<\/li>\n
        • Jeannine Geyssant, Berno Heymer, \u201cThe Enigma of the Vispr\u00e9 Brothers: Reverse Glass Painters in the 18th Century.\u201d L\u2019Estampille \u2013 L\u2019Objet d\u2019Art, no. 442, January 2009, 46\u201353.<\/li>\n
        • Paul Guth, \u201cToute la v\u00e9rit\u00e9 sur le verre \u00e9glomis\u00e9\u201d, Connaissance des Arts, no. 66, August 1957, p. 28.<\/li>\n
        • W.B Honey, \u201cGold engraving under glass\u201d, The Connoisseur, no. 92, December 1933.<\/li>\n
        • Julia Weber, David Babin, \u201cLa porcelaine au service de la diplomatie. Les \u00e9changes de pr\u00e9sents entre Dresde et Versailles\u201d, in S\u00e8vres. Revue de la Soci\u00e9t\u00e9 des Amis du mus\u00e9e national de C\u00e9ramique, no. 16, 2007, pp. 51-56.<\/li>\n<\/ul>\n<\/div>\n<\/div>\n<\/div>\n","value_formatted":"
          \r\n
          \r\n
          \r\n\r\n \r\n

          Bibliography<\/h3>\r\n
            \r\n \t
          • F. Sydney Eden, \u201cVerre \u00e9glomis\u00e9\u201d, The Connoisseur, no. 32, June 1932.<\/li>\r\n \t
          • Rudy Eswarin, \u201cTerminology of verre \u00e9glomis\u00e9\u201d, Journal of Glass Studies, Vol. 21, 1975.<\/li>\r\n \t
          • Jeannine Geyssant, \u201cGlass, Brilliance and Light: The Fascination and Charm of Reverse Glass Paintings.\u201d S\u00e8vres: Journal of the Society of Friends of the National Museum of Ceramics, no. 18, 2009, 50\u201356.<\/li>\r\n \t
          • Jeannine Geyssant, Berno Heymer, \u201cThe Enigma of the Vispr\u00e9 Brothers: Reverse Glass Painters in the 18th Century.\u201d L\u2019Estampille \u2013 L\u2019Objet d\u2019Art, no. 442, January 2009, 46\u201353.<\/li>\r\n \t
          • Paul Guth, \u201cToute la v\u00e9rit\u00e9 sur le verre \u00e9glomis\u00e9\u201d, Connaissance des Arts, no. 66, August 1957, p. 28.<\/li>\r\n \t
          • W.B Honey, \u201cGold engraving under glass\u201d, The Connoisseur, no. 92, December 1933.<\/li>\r\n \t
          • Julia Weber, David Babin, \u201cLa porcelaine au service de la diplomatie. Les \u00e9changes de pr\u00e9sents entre Dresde et Versailles\u201d, in S\u00e8vres. Revue de la Soci\u00e9t\u00e9 des Amis du mus\u00e9e national de C\u00e9ramique, no. 16, 2007, pp. 51-56.<\/li>\r\n<\/ul>\r\n<\/div>\r\n<\/div>\r\n<\/div>","value":"
            \r\n
            \r\n
            \r\n\r\n \r\n

            Bibliography<\/h3>\r\n
              \r\n \t
            • F. Sydney Eden, \u201cVerre \u00e9glomis\u00e9\u201d, The Connoisseur, no. 32, June 1932.<\/li>\r\n \t
            • Rudy Eswarin, \u201cTerminology of verre \u00e9glomis\u00e9\u201d, Journal of Glass Studies, Vol. 21, 1975.<\/li>\r\n \t
            • Jeannine Geyssant, \u201cGlass, Brilliance and Light: The Fascination and Charm of Reverse Glass Paintings.\u201d S\u00e8vres: Journal of the Society of Friends of the National Museum of Ceramics, no. 18, 2009, 50\u201356.<\/li>\r\n \t
            • Jeannine Geyssant, Berno Heymer, \u201cThe Enigma of the Vispr\u00e9 Brothers: Reverse Glass Painters in the 18th Century.\u201d L\u2019Estampille \u2013 L\u2019Objet d\u2019Art, no. 442, January 2009, 46\u201353.<\/li>\r\n \t
            • Paul Guth, \u201cToute la v\u00e9rit\u00e9 sur le verre \u00e9glomis\u00e9\u201d, Connaissance des Arts, no. 66, August 1957, p. 28.<\/li>\r\n \t
            • W.B Honey, \u201cGold engraving under glass\u201d, The Connoisseur, no. 92, December 1933.<\/li>\r\n \t
            • Julia Weber, David Babin, \u201cLa porcelaine au service de la diplomatie. Les \u00e9changes de pr\u00e9sents entre Dresde et Versailles\u201d, in S\u00e8vres. Revue de la Soci\u00e9t\u00e9 des Amis du mus\u00e9e national de C\u00e9ramique, no. 16, 2007, pp. 51-56.<\/li>\r\n<\/ul>\r\n<\/div>\r\n<\/div>\r\n<\/div>","field":{"ID":780,"key":"field_67f660ee47359","label":"Bibliographie","name":"bibliographie","aria-label":"","prefix":"acf","type":"wysiwyg","value":null,"menu_order":7,"instructions":"","required":0,"id":"","class":"","conditional_logic":0,"parent":614,"wrapper":{"width":"","class":"","id":""},"wp-typography":"content","default_value":"","tabs":"all","toolbar":"full","media_upload":1,"delay":0,"wpml_cf_preferences":2,"_name":"bibliographie","_valid":1}},"etat_de_lobjet":{"simple_value_formatted":"","value_formatted":"","value":"","field":{"ID":618,"key":"field_67e67ee61f747","label":"\u00c9tat de l'objet","name":"etat_de_lobjet","aria-label":"","prefix":"acf","type":"wysiwyg","value":null,"menu_order":8,"instructions":"","required":0,"id":"","class":"","conditional_logic":0,"parent":614,"wrapper":{"width":"","class":"","id":""},"default_value":"","allow_in_bindings":0,"tabs":"all","toolbar":"full","media_upload":1,"delay":0,"wpml_cf_preferences":2,"_name":"etat_de_lobjet","_valid":1}},"informations_complementaires":{"simple_value_formatted":"","value_formatted":"","value":"","field":{"ID":619,"key":"field_67e67efb1f748","label":"Informations compl\u00e9mentaires","name":"informations_complementaires","aria-label":"","prefix":"acf","type":"wysiwyg","value":null,"menu_order":9,"instructions":"","required":0,"id":"","class":"","conditional_logic":0,"parent":614,"wrapper":{"width":"","class":"","id":""},"default_value":"","allow_in_bindings":0,"tabs":"all","toolbar":"full","media_upload":1,"delay":0,"wpml_cf_preferences":2,"_name":"informations_complementaires","_valid":1}},"":{"simple_value_formatted":"","value_formatted":"","value":"","field":{"ID":785,"key":"field_67f6616f4735e","label":"","name":"","aria-label":"","prefix":"acf","type":"text","value":null,"menu_order":10,"instructions":"","required":0,"id":"","class":"","conditional_logic":0,"parent":614,"wrapper":{"width":"","class":"","id":""},"wp-typography":"title","default_value":"","maxlength":"","placeholder":"","prepend":"","append":"","wpml_cf_preferences":2,"_name":"","_valid":1}}},"mb":[],"mfb_rest_fields":["title"],"_links":{"self":[{"href":"https:\/\/youngcollectors.galerieleage.com\/en\/wp-json\/wp\/v2\/product\/2267","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/youngcollectors.galerieleage.com\/en\/wp-json\/wp\/v2\/product"}],"about":[{"href":"https:\/\/youngcollectors.galerieleage.com\/en\/wp-json\/wp\/v2\/types\/product"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/youngcollectors.galerieleage.com\/en\/wp-json\/wp\/v2\/media\/2844"}],"wp:attachment":[{"href":"https:\/\/youngcollectors.galerieleage.com\/en\/wp-json\/wp\/v2\/media?parent=2267"}],"wp:term":[{"taxonomy":"product_brand","embeddable":true,"href":"https:\/\/youngcollectors.galerieleage.com\/en\/wp-json\/wp\/v2\/product_brand?post=2267"},{"taxonomy":"product_cat","embeddable":true,"href":"https:\/\/youngcollectors.galerieleage.com\/en\/wp-json\/wp\/v2\/product_cat?post=2267"},{"taxonomy":"product_tag","embeddable":true,"href":"https:\/\/youngcollectors.galerieleage.com\/en\/wp-json\/wp\/v2\/product_tag?post=2267"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}