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An elegant George III giltwood and carton-pierre oval pier glass, late 18th Century
An elegant George III giltwood and carton-pierre oval pier glass, late 18th Century
An elegant and refined George III giltwood and carton-pierre oval pier glass, late 18th Century, with egg and dart border below a husk-swagged urn cresting, and trailing husks to the pierced foliate apron beneath. Similar designs for oval-shaped pier-glasses can be seen in a volume of designs (held at the V & A) for furniture, interior decoration, and architectural fittings, by John Linnell (1729-1796). He was the son of the famous furniture maker William Linnell (ca. 1703-1763) and gained a design education at the St. Martin`s Lane Academy founded by William Hogarth in 1735. In 1750, aged 21, John Linnell joined his father`s firm as a designer, taking over the family firm at his father’s death in 1763 going on to produce high quality furniture During his lifetime John Linnell produced high quality furniture, “which rivalled that of other leading furniture makers such as Thomas Chippendale, John Cobb and William Ince and John Mayhew.” V & A, Prints, Drawings & Paintings Collection, E.174-1929 These drawings for two oval pier-glasses in pencil, pen, and ink, were executed as sketches and were probably intended for Linnell’s personal use as preliminary designs. The urn cresting demonstrates the way in which artists and designers were using these forms within their designs during the neoclassical period in the second half of the 18th century, inspired by the discoveries of objects from sites such as Pompeii and Herculaneum According to the V & A, this design is part of a group of over 900 drawings of frames, mainly for pier glasses, overmantels, and girandoles. Many of these workshop designs share similar characteristics such as leaf scrolls and festoons of husks. Most of them are numbered, contain information about who ordered them, the date, the price (written in code), the colour of the frame and the dimensions of the finished object.
18340 EUR
A wedding pair of icons in silver frames in the Art Nouveau style. Moscow, early 20th century
A wedding pair of icons in silver frames in the Art Nouveau style. Moscow, early 20th century
A wedding pair of icons created at the turn of the 19th and 20th centuries in Moscow is an outstanding example of Russian icon painting. The composition features two traditional images: a half-length image of the Lord Almighty with an open book in his left hand and a blessing gesture with his right hand, as well as Our Lady of Kazan with a baby in her arms. The images are executed in the academic style typical of Moscow icon painting workshops of the late 19th century. The icons are enclosed in luxurious silver gilded frames created at the Moscow factory of Yemelyan Alekseevich Kuznetsov in the Art Nouveau style. The finest decorative elements give the works a special sophistication. The icons are placed in original wooden icon cases corresponding to the era of their creation. Materials and technique: Board, gesso, egg tempera, silver 84, gilding, casting, chasing, sawing, hand engraving with a graver, chiselling, grinding, polishing, finishing, mounting Hallmarks: Master`s name EK - Kuznetsov Yemelyan Alekseevich, owner of a silverware factory. Silver assay mark 84 with an image of a woman`s head in a kokoshnik, facing right, with the letter Omega - Moscow Assay Office, period 1908-1917. Dimensions: Icons: Height - 22 cm, width - 17.5 cm. Icon cases: Height - 30 cm, width - 26 cm Historical background: Kuznetsov Yemelyan Alekseevich is the owner of a silverware factory founded in 1886. According to data from 1897, the company produced silver icon frames worth about 5 thousand rubles. The production involved 13 male workers, 6 teenagers and 6 boys learning the craft. The icon cases of his workshop were distinguished by the high quality of their chasing and the sophistication of their gilded decor. A wedding pair of icons: a symbol of blessing and spiritual unity A wedding pair is a special composition consisting of two icons: the Savior and the Holy Mother of God, executed in the same style and manner of painting. These icons are used during the sacrament of marriage and are an integral part of the Orthodox wedding tradition. During the ceremony, the priest blesses the groom with the image of Christ, and the bride with the icon of the Mother of God, thereby symbolizing their spiritual patronage. Wedding icons are presented to the newlyweds by their parents: the icon of the Savior is given to the son, and the image of the Mother of God to the daughter. This gesture is not only a blessing, but also a guarantee of the preservation of family values ​​and traditions. After the wedding ceremony, the icons are placed in the red corner of the house, becoming the basis of the home iconostasis and holding the blessing for a long and happy married life. According to an old custom, wedding icons are passed down from generation to generation, being a priceless family heirloom.
4500 EUR
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