Carving the Acanthus Leaf a How to Book by Mary

Total Page:16

File Type:pdf, Size:1020Kb

Carving the Acanthus Leaf a How to Book by Mary ArtFields in Lake City, SC, Features Works by Kristi Ryba ArtFields in Lake City, SC, will pres- ent the Chapel Of Perpetual Adoration, featuring an installation by Kristi Ryba, on view in the Lake City Library Community Center, from Apr. 20 - 28, 2018. This installation will be the first op- portunity for the public to see this satirical work about the Trump White House and our current government. Work by Kristi Ryba be humorous, its greater purpose is often “Gloucester Scene” 12”x16” Acrylic on Canvas An installation by Kristi Ryba constructive social criticism, using wit to draw attention to both particular and wider Ryba’s work is based on original issues in society.” Medieval and Renaissance altarpieces Ryba has degrees from Vermont Karen Burnette Garner and manuscripts. Since the 2016 election College, Montpelier, VT, MFA, and the she saw parallels in these original works College of Charleston, BA, Magna Cum with our current President and political Laude. She has been a professional artist ~Artist~ situation. It was a natural progression to for 30 years, exhibiting throughout the combine current news, commentary and United States. This project was funded especially “tweets” with the religious and in part by the City of Charleston Office Quality Artwork for Discerning Collectors political content of these historical images of Cultural Affairs and the City of North Commissions Available from early Western European royalty and Charleston Cultural Arts Program and religion. All the gold, elaborate surround- the South Carolina Arts Commission Join us on Facebook and Instagram ings and messages of morality and ethics which receives support from the National corresponded with what was happening in endowment for the Arts and the John and our government; the gutting of our social Susan Bennet Memorial Arts Fund of the Shop online at safety net and health care, eliminating Coastal Community Foundation of SC. environmental protections, the lack of www.karenburnettegarner.com restraint in spending money on personal 678.602.7666 enrichment and the build up of military spending and lack of international diplo- macy to name a few. Ryba has used the iconography of Medieval and Renaissance work in her earlier work about her family and wom- Corrigan Gallery in Charleston, an’s work. She uses 22k gold leaf and egg tempera, (grinding her own pigments), on wooden panels to make this work. In the SC, Features Works by Paul Chapel Of Perpetual Adoration, a mock up of a prayer chapel, she attempts to Works by Kristi Ryba Mardikian and John Moore expose some of the abuses, failings and In order for visitors to vote for artists in Corrigan Gallery in Charleston, SC, deficiencies of what is happening in our the 2018 ArtFields Competition you must will present Dialogues Improvisés, featur- government. Wikipedia describes “satire register at 133-A East Main Street, Lake ing a collaborative show between painter as a genre of literature and sometimes City, SC. Kristi Ryba’s ID# is 797936. Paul Mardikian and photographer John graphic and performing arts, in which For further information about Kristi Moore, on view from Apr. 6 - 30, 2018. vices, follies, abuses and shortcomings are Ryba her website is A reception will be held on Apr. 6, from held up to ridicule, ideally with the intent (www.kristiryba.com). For more informa- 5-8pm. of shaming individuals, corporations, tion about ArtFields 2018 please go to John Moore has spent decades docu- government or society itself into improve- (www.artfieldssc.org). menting the color to be found in decay, ment. Although satire is usually meant to neglect, the odd repair and the world around us. As he says, he provides us with a rectangle of “the close at hand …(which Carving the Acanthus Leaf can be) more interesting than the whole. Small pictures can become large worlds when you are looking through the view a How To Book by Mary May finder of a camera.” European trained classical woodcarver, Mary May, has completed her first book Carving the Acanthus Leaf. May has had the honor of studying with various master European woodcarvers to learn the clas- Work by Paul Mardikian sical styles of woodcarving and ornamen- Piccolo Spoleto Juried Exhibits here in tation. She has written a highly detailed Charleston and the Sierra Club Nature book on how to draw and carve this classi- Photography exhibits. Moore has had sev- cal design that has been part of architec- eral solo shows at the Charleston County ture and ornament since ancient times. Library and participated in many group For woodworkers focused on classi- exhibitions. He was a charter member of cal Western ornament, there comes a time the South Carolina Photographers’ Guild they will inevitably encounter the acan- in 1990. Also, that year the South Carolina thus leaf, learn it, master it and incorpo- Joint Legislative Committee on Cultural rate it into their own designs. Affairs and the South Carolina Arts Fed- The long history of the acanthus leaf eration chose one of Moore’s images to in decorative arts and architecture can be be given as the award for South Carolina traced to ancient Greece. It was embraced Business and the Arts Partnership Awards. by the Roman Empire, passed through Paul Mardikian came to Charleston in the Byzantine Empire and the Middle his capacity as a conservator to restore Work by John Moore Ages, and was rediscovered during the Book Cover the Hunley. He began painting during Renaissance and Baroque periods. It has chitect, hobbyist, designer or one simply He is a structural engineer by profes- his studies at the Sorbonne and Louvre remained the most commonly carved captivated by classical design and orna- sion with photography as his serious long before his arrival in Charleston. The decorative element throughout history. mentation, there is much to discover about avocation and passion for more than 40 process of removing the layers nature has Students of classical, Western orna- this mysterious and enduring leaf. years. Since 1984 Moore’s photographs deposited on his “patients” inspired him to ment will discover that learning to design, With its first appearance being the mul- have been winning awards and appeared put down layers on board or canvas then shape and incorporate this motif into their tiple curling leaves on the Corinthian capi- in many juried exhibits, including several remove parts creating a painting or sculp- designs is a true rite of passage. Whether tal, this magnificent design has changed Southern Visions exhibits at The Museum ture as he prefers. His work is included in you’re a professional woodworker, ar- continued on Page 11 of York County in Rock Hill, SC, several continued on Page 12 Page 10 - Carolina Arts, April 2018 Table of Contents.
Recommended publications
  • Discover the Styles and Techniques of French Master Carvers and Gilders
    LOUIS STYLE rench rames F 1610–1792F SEPTEMBER 15, 2015–JANUARY 3, 2016 What makes a frame French? Discover the styles and techniques of French master carvers and gilders. This magnificent frame, a work of art in its own right, weighing 297 pounds, exemplifies French style under Louis XV (reigned 1723–1774). Fashioned by an unknown designer, perhaps after designs by Juste-Aurèle Meissonnier (French, 1695–1750), and several specialist craftsmen in Paris about 1740, it was commissioned by Gabriel Bernard de Rieux, a powerful French legal official, to accentuate his exceptionally large pastel portrait and its heavy sheet of protective glass. On this grand scale, the sweeping contours and luxuriously carved ornaments in the corners and at the center of each side achieve the thrilling effect of sculpture. At the top, a spectacular cartouche between festoons of flowers surmounted by a plume of foliage contains attributes symbolizing the fair judgment of the sitter: justice (represented by a scale and a book of laws) and prudence (a snake and a mirror). PA.205 The J. Paul Getty Museum © 2015 J. Paul Getty Trust LOUIS STYLE rench rames F 1610–1792F Frames are essential to the presentation of paintings. They protect the image and permit its attachment to the wall. Through the powerful combination of form and finish, frames profoundly enhance (or detract) from a painting’s visual impact. The early 1600s through the 1700s was a golden age for frame making in Paris during which functional surrounds for paintings became expressions of artistry, innovation, taste, and wealth. The primary stylistic trendsetter was the sovereign, whose desire for increas- ingly opulent forms of display spurred the creative Fig.
    [Show full text]
  • The Rinceau Design, the Minor Arts and the St. Louis Psalter
    The Rinceau Design, the Minor Arts and the St. Louis Psalter Suzanne C. Walsh A thesis submitted to the faculty of the University of North Carolina at Chapel Hill in partial fulfillment of the requirements for the degree of Master of Arts in the Department of Art History. Chapel Hill 2011 Approved by: Dr. Jaroslav Folda Dr. Eduardo Douglas Dr. Dorothy Verkerk Abstract Suzanne C. Walsh: The Rinceau Design, the Minor Arts and the St. Louis Psalter (Under the direction of Dr. Jaroslav Folda) The Saint Louis Psalter (Bibliothèque National MS Lat. 10525) is an unusual and intriguing manuscript. Created between 1250 and 1270, it is a prayer book designed for the private devotions of King Louis IX of France and features 78 illustrations of Old Testament scenes set in an ornate architectural setting. Surrounding these elements is a heavy, multicolored border that uses a repeating pattern of a leaf encircled by vines, called a rinceau. When compared to the complete corpus of mid-13th century art, the Saint Louis Psalter's rinceau design has its origin outside the manuscript tradition, from architectural decoration and metalwork and not other manuscripts. This research aims to enhance our understanding of Gothic art and the interrelationship between various media of art and the creation of the complete artistic experience in the High Gothic period. ii For my parents. iii Table of Contents List of Illustrations....................................................................................................v Chapter I. Introduction.................................................................................................1
    [Show full text]
  • The Grottesche Part 1. Fragment to Field
    CHAPTER 11 The Grottesche Part 1. Fragment to Field We touched on the grottesche as a mode of aggregating decorative fragments into structures which could display the artist’s mastery of design and imagi- native invention.1 The grottesche show the far-reaching transformation which had occurred in the conception and handling of ornament, with the exaltation of antiquity and the growth of ideas of artistic style, fed by a confluence of rhe- torical and Aristotelian thought.2 They exhibit a decorative style which spreads through painted façades, church and palace decoration, frames, furnishings, intermediary spaces and areas of ‘licence’ such as gardens.3 Such proliferation shows the flexibility of candelabra, peopled acanthus or arabesque ornament, which can be readily adapted to various shapes and registers; the grottesche also illustrate the kind of ornament which flourished under printing. With their lack of narrative, end or occasion, they can be used throughout a context, and so achieve a unifying decorative mode. In this ease of application lies a reason for their prolific success as the characteristic form of Renaissance ornament, and their centrality to later historicist readings of ornament as period style. This appears in their success in Neo-Renaissance style and nineteenth century 1 The extant drawings of antique ornament by Giuliano da Sangallo, Amico Aspertini, Jacopo Ripanda, Bambaia and the artists of the Codex Escurialensis are contemporary with—or reflect—the exploration of the Domus Aurea. On the influence of the Domus Aurea in the formation of the grottesche, see Nicole Dacos, La Découverte de la Domus Aurea et la Formation des grotesques à la Renaissance (London: Warburg Institute, Leiden: Brill, 1969); idem, “Ghirlandaio et l’antique”, Bulletin de l’Institut Historique Belge de Rome 39 (1962), 419– 55; idem, Le Logge di Raffaello: Maestro e bottega di fronte all’antica (Rome: Istituto Poligrafico e Zecca dello Stato, 1977, 2nd ed.
    [Show full text]
  • Acanthus a Stylized Leaf Pattern Used to Decorate Corinthian Or
    Historical and Architectural Elements Represented in the Weld County Court House The Weld County Court House blends a wide variety of historical and architectural elements. Words such as metope, dentil or frieze might only be familiar to those in the architectural field; however, this glossary will assist the rest of us to more fully comprehend the design components used throughout the building and where examples can be found. Without Mr. Bowman’s records, we can only guess at the interpretations of the more interesting symbols used at the entrances of the courtrooms and surrounding each of the clocks in Divisions 3 and 1. A stylized leaf pattern used to decorate Acanthus Corinthian or Composite capitals. They also are used in friezes and modillions and can be found in classical Greek and Roman architecture. Amphora A form of Greek pottery that appears on pediments above doorways. Examples of the use of amphora in the Court House are in Division 1 on the fourth floor. Atrium Inner court of a Roman-style building. A top-lit covered opening rising through all stories of a building. Arcade A series of arches on pillars. In the Middle Ages, the arches were ornamentally applied to walls. Arcades would have housed statues in Roman or Greek buildings. A row of small posts that support the upper Balustrade railing, joined by a handrail, serving as an enclosure for balconies, terraces, etc. Examples in the Court House include the area over the staircase leading to the second floor and surrounding the atria on the third and fourth floors.
    [Show full text]
  • The Pomegranate Pattern in Italian Renaissance Textiles
    University of Nebraska - Lincoln DigitalCommons@University of Nebraska - Lincoln Textile Society of America Symposium Proceedings Textile Society of America 1994 The omegP ranate Pattern in Italian Renaissance Textiles: Origins and Influence Rosalia Bonito Fanelli Museo del Tessuto, Firenze, Italy Follow this and additional works at: https://digitalcommons.unl.edu/tsaconf Part of the Art and Materials Conservation Commons, Art Practice Commons, Fashion Design Commons, Fiber, Textile, and Weaving Arts Commons, Fine Arts Commons, and the Museum Studies Commons Fanelli, Rosalia Bonito, "The omeP granate Pattern in Italian Renaissance Textiles: Origins and Influence" (1994). Textile Society of America Symposium Proceedings. 1042. https://digitalcommons.unl.edu/tsaconf/1042 This Article is brought to you for free and open access by the Textile Society of America at DigitalCommons@University of Nebraska - Lincoln. It has been accepted for inclusion in Textile Society of America Symposium Proceedings by an authorized administrator of DigitalCommons@University of Nebraska - Lincoln. Fanelli, Rosalia Bonito. “The Pomegranate Pattern in Italian Renaissance Textiles: Origins and Influence.” Contact, Crossover, Continuity: Proceedings of the Fourth Biennial Symposium of the Textile Society of America, September 22–24, 1994 (Los Angeles, CA: Textile Society of America, Inc., 1995). THE POMEGRANATE PATTERN IN ITALIAN RENAISSANCE TEXTILES: ORIGINS AND INFLUENCE 1 ROSALIA BONITO FANELLI Museo del Tessuto. Prato: Via Puccinotti 105. 50129 Firenze. Italy THE NINETEENTH CENTURY TRADITION The term 11 pomegranate mot-if 11 includes a series of vegetal patterns - the pine cone. the artichoke. the thistle. variants of the tree-of-life motif. and. in particular. the lotus and the palmette. These last two patterns were closely studied by Alois Riegl in his 1893 work.
    [Show full text]
  • Cusack's Freehand Ornament. a Text Book with Chapters on Elements
    GIFT OF MICHAEL REESE Digitized by the Internet Archive in 2007 with funding from IVIicrosoft Corporation http://www.archive.org/details/cusacksfreehandoOOarmsrich I CUSACK'S FREEHAND ORNAMENT. I CUSACK'S FREEHAND ORNAMENT. • A Text Book with Chapters on Elements, Principles, and Methods of Freehand Drawing, FOR THE GENERAL USE OF Teachers and Students of Public, Private and Elementary Schools ; for Students in Training Colleges, and for Elementary Art Students. BY CHAKLES AKMSTKONG, ft Art Master, City of London School of Art ; Late of the National Art Training School Examiner to the Art Department. Author of " Cusack's Shading " and '* Ciisack's Model Dravciny. vSS^ ^"^^^ 3/6 net. .CALIFORNl^^^ CITY OF LONDON BOOK DEPOT: White Street and Finsbury Street, Moorfields, London, E.G. /VC650 Pbinted bv Stbaker Bbothees & Co. " The Bishopsoate Pbess," 41-47, Bishopsoate Withoit, E.G. PEEFACE Twenty years ago it was generally believed that only a very small portion of the population were born with natural ability to draw, and that it was useless for the remainder to try. Now, however, it is generally admitted that all can develop a certain amount of ability to draw. Drawing has become general in elementary schools, and is recognised as a help in almost every trade or profession. This sudden popularity of the subject must make it very hard for teachers, who find a large proportion of their pupils with natural ability far below the average. To make headway at all with such pupils, definite method is essential. The object of this book is to teach definite methods, and to impress them on the mind by repetition.
    [Show full text]
  • Stylistic Analysis of the Architectural
    計画系 684 号 【カテゴリーⅡ】 日本建築学会計画系論文集 第78巻 第684号,497-507,2013年 2 月 J. Archit. Plann., AIJ, Vol. 78 No. 684, 497-507, Feb., 2013 ������������������������������������������������������ STYLISTIC�������������������������������������������������������������������������������������������������������� ANALYSIS OF THE ARCHITECTURAL ORNAMENTATION �������������������������������������������������� 古代都市メッセネのアスクレピオス神域のストアにおける建築装飾の様式分析OF THE STOAS OF THE ASKLEPIEION AT ANCIENT MESSENE 古代都市メッセネのアスクレピオス神域のストアにおける建築装飾の様式分析 古代都市メッセネのアスクレピオス神域のストアにおける建築装飾の様式分析古代都市メッセネのアスクレピオス神域のストアにおける建築装飾の様式分析 �� �� * �� �� * * RyuichiRyuichi�� YOSHITAKE YOSHITAKE �� * Ryuichi吉 武YOSHITAKE 隆 一 The Hellenistic sanctuary of the Asklepios at Messene has a square courtyard surrounded by the Stoas from its four sides. It has been The Hellenistic sanctuary of the Asklepios at Messene has a square courtyard surrounded by the Stoas from its four sides. It has been Theconsidered Hellenistic by that sanctuary the Asklepieion of the Asklepios was built at between Messene the has end a squareof the 3courtyardrd century surroundedand the 2nd����������������������������������������������� by the Stoas from its four sides. It has been considered by that the Asklepieion was built between the end of the 3rd century and the 2nd����������������������������������������������� ���������������������������������������������������������������considered by that the Asklepieion was built between the end of the������������������������������������������������������� 3rd century and the 2nd�����������������������������������������������nd��������������
    [Show full text]
  • P. Minissale, V. Magro & F. M. Raimondo Why Did Acanthus Mollis, Native to West Mediterranean, Become a So Relevant Artistic
    Article Fl. Medit. 29: 119-128 https://doi.org/10.7320/FlMedit29.119 Version of Record published online on 24 July 2019 P. Minissale, V. Magro & F. M. Raimondo Why did Acanthus mollis, native to West Mediterranean, become a so relevant artistic and symbolic element arising from ancient Greece?* Abstract Minissale, P., Magro, V. & Raimondo, F. M.: Why did Acanthus mollis, native to West Mediterranean, become a so relevant artistic and symbolic element arising from ancient Greece?. — Fl. Medit. 29: 119-128. 2019. — ISSN: 1120-4052 printed, 2240-4538 online. In classical antiquity many plant species were a source of inspiration in art and architecture. An emblematic case is Acanthus mollis, a Western Mediterranean species, although many Mediterranean countries Floras are in contradiction with respect to its native distribution. Two subspecies are known: A. mollis subsp. mollis distributed in Italy, France and Croatia, and A. mollis subsp. platy- phyllus growing in Morocco, Algeria and Tunisia. In other Mediterranean countries it should be an introduced taxon, such as in Greece and Turkey where the native species is A. spinosus. Although the maximum spread of the Acanthus leaf in architecture occurred in Roman times, the Corinthian cap- ital was born in Greece, portraying A. mollis. Among the earliest examples we remember the Doric Temple of Apollo Epicurius at Bassae in Peloponnese, built in 450-425 BC. probably by Ictino, the Tholos at Epidaurus (360-330 BC.), characterized by Doric columns in the exterior, while the inner colonnade consists of 14 Corinthian columns. The leaf carved in the stone is unequivocally A. mollis.
    [Show full text]
  • History of Architecture
    ART 21000: HISTORY OF ARCHITECTURE Course Description: An introduction to the history of architecture of the Western World from the Stone Age to skyscrapers based on lectures, readings from the required texts, completion of the Architectural Vocabulary Project, and the study visit to Italy. Lectures and readings cover the historical development of architecture in the following topics: Stone Age, Egyptian & Mesopotamian, Greek, Roman, Early Christian, Romanesque, Gothic, Renaissance, Baroque, and the Modern Era to the present. Class Meetings: Tuesday & Thursday, 4-8pm Texts: Watkin & XanEdu Course Schedule: Mtg # Date Topics Readings 1 T 5/12 Stone Age, Egypt, Mesopotamia & Greece TBD 2 R 5/14 Rome TBD 3 T 5/19 Exam #1; Early Christian & Romanesque TBD 4 R 5/21 Romanesque & Gothic TBD 5 T 5/26 Exam #2 Renaissance TBD 6 R 5/28 Baroque TBD 7 T 6/2 Exam #3; 18th century & 19th century TBD 8 R 6/4 19th century TBD 9 T 6/9 20th century TBD 10 R 6/11 Exam #4; AVP.1 DUE; Walking Tour TBD 11 M-S 6/21- Study abroad to Italy 6/29 12 R 7/3 AVP.2 Due Homework Schedule: 10% of final grade. Homework will consist of writing 20 questions, answers, and citations on each topic based on the readings from Watkin and/or XanEdu. 5/19 HW 1 Stone Age, Egypt & Mesopotamia, Greek, and Roman 5/26 HW 2 Early Christian, Byzantine, Romanesque, and Gothic 6/2 HW 3 Renaissance & Baroque 6/11 HW 4 18th, 19th, and 20th centuries Grading: Homework (4) 10% Attendance (10) 10% Exams (4) 40% AVP.
    [Show full text]
  • Cortina Stonetm Mantelpiece Collection Wholecataloguepg1-21 4/27/07 3:21 PM Page 2
    WholeCataloguePG1-21 4/27/07 3:21 PM Page 1 Cortina StoneTM Mantelpiece Collection WholeCataloguePG1-21 4/27/07 3:21 PM Page 2 historical european- inspired mantelpieces impeccably sculpted to gratify the world’s most discerning architectural palates WholeCataloguePG1-21 4/27/07 3:21 PM Page 3 WholeCataloguePG1-21 4/27/07 3:22 PM Page 4 or over a decade Tartaruga Design has been supplying discerning homeowners and design and building professionals with the most distinctive collection of hand-sculpted mantelpieces available. Carefully researched and impeccably crafted, our timeless designs and sculptural expertise have become the industry’s benchmark for value and excellence. An almost unlimited combination of design ach Tartaruga piece is imbued with the passion variations, material choices and hand finishes of Tartaruga’s owner and founder, Luca Savazzi. make each Tartaruga piece as unique as the properties and lives they have enriched. Born in Italy, Luca returns to Europe on a regular basis to expand his knowledge of architectural history and stonework. Thank you for your consideration and allowing Luca has over twenty years of design and sculptural us to share our passion with you. experience in bronze, stone, wood and clay. His inspirational 4 tartarugadesign. com WholeCataloguePG1-21 4/27/07 3:22 PM Page 5 Passion has always been “ the key to Tartaruga’s success. Passion for our craft, passion for fulfilling our clients’ visions, and a passion for trying to leave this world a little bit better than we found it.” Luca Savazzi - President studies of art and architecture in Italy, France, Holland, Spain, Portugal, Austria, and the United Kingdom are evident in the timelessness of his design drawings and sculptural work.
    [Show full text]
  • Stylistic Analysis of the Architectural
    計画系 684 号 【カテゴリーⅡ】 日本建築学会計画系論文集 第78巻 第684号,485-495,2013年 2 月 J. Archit. Plann., AIJ, Vol. 78 No. 684, 485-495, Feb., 2013 STYLISTIC ANALYSIS OF THE ARCHITECTURAL ORNAMENTATION ���������������������������������������������������������� ������������������������������������������������������������������������������������������������������������������������������������������������������������������������������AND���������������������������������������������������������� DATING���������������������������������������������������������� OF THE SCAENAE FRONS OF THE THEATER ��������������������������������������������������������SCAENAESCAENAESCAENAE��������������SCAENAE FRONS FRONS FRONS FRONS������������������������SCAENAE�������������������������������������������������������������������������������������� FRONS������������������������������������������������������������ ��������������SCAENAEAT FRONS ANCIENT�������� MESSENE�������������������������� 古代都市メッセネの劇場のスカエナエ・フロンスにおける 古代都市メッセネの劇場のスカエナエ・フロンスにおける古代都市メッセネの劇場のスカエナエ・フロンスにおける古代都市メッセネの劇場のスカエナエ・フロンスにおける古代都市メッセネの劇場のスカエナエ・フロンスにおける古代都市メッセネの劇場のスカエナエ・フロンスにおける古代都市メッセネの劇場のスカエナエ・フロンスにおける 建築装飾の様式分析および建設年代 建築装飾の様式分析および建設年代建築装飾の様式分析および建設年代建築装飾の様式分析および建設年代建築装飾の様式分析および建設年代建築装飾の様式分析および建設年代建築装飾の様式分析および建設年代 �� �� * ���� �� ����* * �� ** �� �� * Ryuichi�� YOSHITAKE �� * RyuichiRyuichiRyuichi YOSHITAKERyuichi YOSHITAKE YOSHITAKE YOSHITAKERyuichi YOSHITAKE Ryuichi吉 武YOSHITAKE 隆 一 The scaenae frons, the façade of the Roman scene building of the Theater at Messene has been dated to between the middle of the The
    [Show full text]
  • Brochure 2013 Copy
    2013 Specializing in 18th and 19th Century French, Italian and Continental Antiques With the largest Collection in the South Eastern United States 3415 South Dixie Highway w West Palm Beach, Fl 33405 w Tel. 561-835-1319 cedricdupontantiques.com ( DESCRIPTION OF CENTER TABLE ON PAGE 3 ) An impressive early 19th century Italian carved giltwood and faux marble oval center table. Raised by carved acanthus leaf supports and central mottled supports all below the faux marble painted plateau. Three giltwood pedestals above with acanthus leaves and scrolls throughout amidst burnished rosettes and cabochons. Topped by a thick oval shaped bevelled glass. All original gilt. H: 32.5” L: 86.5” D: 43.25” A high quality and most impressive French 19th century Louis XVI st. kingwood, ormolu and marble buffet, signed by Mercier Freres Paris. The buffet is raised by six supports with circular center ormolu mounts. Above is the rectangular shaped curved base with brass filets and ormolu rosettes above each support. Each of the three doors and sides has inlaid lattice designed panels with ebony borders and brass filets, opulently decorated with floral chandelles, ormolu scrolled corners mounts acanthus leaves and finely chased ormolu keyhole escutcheons. Above is the highly decorated frieze with three drawers and ormolu handles within brass filet borders. Above lays the spectacular moulded Red Levanto marble top and back splash. The scalloped back splash has a highly chased ormolu lions head central reserve amidst ‘S’ scrolled foliage and scrolled acanthus leaf ormolu mounts on each side. All original gilt. H: 67.5” L: 88” D: 21.5” A superb and extraordinary quality French mid 19th century patinated bronze and ormolu sculpture, a collaboration between the famous Bronzier Raingo Frères and the sculptor Jean Baptiste Pigalle.
    [Show full text]