An elegant pair of giltwood Rococo revival mirrored wall brackets, circa 1880 in date.
They feature stylized shell crests above two shelves with cartouche apron,
boldly-carved scrolling acanthus frame, and they retain the original gilding.
This impressive pair is certain to make a charming addition to that one special room in your home, and are ideal for displaying your precious objets d''art.
Condition:
In excellent condition having been beautifully cleaned and waxed in our workshops, please see photos for confirmation.
Dimensions in cm:
Height 86 cm x Width 42 cm x Depth 21 cm
Dimensions in inches:
Height 2 foot, 10 inches x Width 1 foot, 4 inches x Depth 8 inches
Rococo
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
Internal Reference: A4420a
Antique ID Number (AIDN): SA1170871
Dateline of this antique is 1880
Height is 86cm (33.9inches)Width is 42cm (16.5inches)Depth is 21cm (8.3inches)
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