Louis XVI Finely Carved Giltwood Console Analytical Essay by ClemenceD

Louis XVI Finely Carved Giltwood Console
Presents an artifact analysis and consignment report for a Louis XVI finely carved giltwood console c. 1770.
# 153856 | 4,436 words | 17 sources | MLA | 2012 | FR
Published on Apr 13, 2014 in Art (History)

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This paper presents an analysis of a Louis XVI finely carved giltwood console (c. 1770) by comparing it to another set of (parcel) gilt-wood carved furniture which dates from the same period, i.e. c. 1769-70. The paper describes the furniture, compares it and presents a historical contextualization. The paper further presents a complete consignment strategy for the piece. Several illustrations are included with the paper.

Table of Contents:
1. Identification Details
2. Comparative Evaluation
3. Historical Contextualisation
4. Consignment Strategy

From the Paper:

"Made in Paris around 1770, this granite covered vase, with square handles recalling the ornamental Greek key, was made under the same circumstances as Epaulard's console. Which tells us a lot about the revival of Classical motifs and its wider aesthetic implications, i.e. early Neo-Classical style in France, also called 'Transitional style' or 'gout grec.' If the vase was used as a pot-pourri container, it was often made in precious metals, porcelain or hardstones and inspired by antique arte facts: it was thus primarily decorative and sometimes extremely refined, as it is the case here.
"The renewed interest at that time for hardstones mounted with gilt bronze can be exem plified in the many pieces of furniture, especially consoles, which incorporated these Grecian ob jects. The silver-plated and gilt-bronze console-table from the Musee Nissim de Camondo, Paris (a model from the 1760s, which can be told from the shape en console; Fig. 2.5), is one of them, quite striking in deed as it is made out of precious materials just like these Grecian urns or vases. The designs for the latter and for another console-table made on the same occasion are known (Fig. 2.6): their resem blance to Epaulard's is obvious, especially concerning the design for the vase's cover. Whereas most covered urns terminate in pine cone (Getty Museum's granite vase, Musee Camondo's console), that one is surmounted by a flame finial. The same pattern can be found on the top of the cartel clock from the Musee Camondo (Fig. 2.7)."

Sample of Sources Used:

  • Barbier Sainte Marie, Sylvain, Charles Topino circa 1742 - 1803, pref. David de Rothschild (Paris: Perrin & fils/Editions de l'Amateur, 2005).
  • Dilke, Emilia Frances Strong Pattison, Lady, French Furniture and Decoration in the XVIIIth Century (London: George Bell & Sons, 1901).
  • Eriksen, Svend, Early Neo-Classicism in France: The creation of the Louis Seize Style in architectural decoration, furniture and ormolu, gold and silver, and Sevres porcelain in the mid-eighteenth century, transl. Peter Thornton (London: Faber, 1974).
  • Faroult, Guillaume, Christophe Leribault, eds., et al., L'Antiquite revee : Innovations et resistances au XVIIIe siecle, exh. cat.; Musee du Louvre, Paris, 2 Dec. 2010 - 14 Feb. 2011 (Paris: Gallimard/ Musee du Louvre, 2010).
  • Kjellberg, Pierre, Le Mobilier francais du XVIIe siecle : Dictionnaire des ebenistes et des menuisiers (Paris: Editions de l'Amateur, 1989).

Cite this Analytical Essay:

APA Format

Louis XVI Finely Carved Giltwood Console (2014, April 13) Retrieved January 21, 2022, from https://www.academon.com/analytical-essay/louis-xvi-finely-carved-giltwood-console-153856/

MLA Format

"Louis XVI Finely Carved Giltwood Console" 13 April 2014. Web. 21 January. 2022. <https://www.academon.com/analytical-essay/louis-xvi-finely-carved-giltwood-console-153856/>