Antique George II Revival Rouge Marble Topped Eagle Centre Table 20th C

This is a superb large antique George II revival carved eagle centre table in in the manner of William Kent, early 20th Century in date.

The table has a variegated rouge marble top with the apron and plinth carved with breaking waves and shell edging. Below the marble top there is a magnificent carved spread winged eagle, and the table is free standing, so the eagle can be viewed from each side and you can see that it is of the highest quality. It is raised on a decorative  naturalistic plinth base.

There is no mistaking the unique quality and elaborate design, which is certain to make it a talking point in your home and a fine embellishment to your reception room.

Condition:

In excellent condition, please see photos for confirmation of condition.

Dimensions in cm:

Height 79 cm x Width 179 cm x Depth 98 cm

Dimensions in inches:

Height 2 foot, 7 inches x Width 5 foot, 10 inches x Depth 3 foot, 3 inches Giltwood

There is no doubt that giltwood furniture is an expression of grandeur and luxury. The golden hue of these pieces comes from the application of real gold leaf—a highly valued material both then and now. When it comes to buying antique giltwood furniture for your collection, there are many different considerations to keep in mind, many of which come down to personal preference.

Origins of Giltwood

The gilt gesso technique appeared in England at the end of the seventeenth century with the work of Jean Pelletier, a Huguenot craftsman who received royal patronage at Hampton Court and Kensington Palace. James Moore, a royal cabinetmaker working in the early eighteenth century, expanded on this technique with increased drama and exaggeration to the carving. Throughout the Georgian era in the eighteenth century, gilded furniture was highly prized as some of the finest furniture available as it emulated the ever popular taste for French style and décor.

The Technique

Gesso is a type of plaster that is prepared of finely ground chalk, applied onto the wooden surface in a series of layers—at least fifteen layers were needed to achieve the desired thickness. Once dried, the craftsmen could cut into the new surface to create different designs.  When the designs were complete, the gilding could be applied. To gild the surface, a red clay ground, known as bole, would be spread onto the surface to prepare for the laying of the gold leaf.

Our reference: A4597