Antique Victorian Burr Walnut Inlaid Credenza c.1860
Antique Victorian Burr Walnut Inlaid Credenza c.1860
Antique Victorian Burr Walnut Inlaid Credenza c.1860
Antique Victorian Burr Walnut Inlaid Credenza c.1860
Antique Victorian Burr Walnut Inlaid Credenza c.1860
Antique Victorian Burr Walnut Inlaid Credenza c.1860
Antique Victorian Burr Walnut Inlaid Credenza c.1860
Antique Victorian Burr Walnut Inlaid Credenza c.1860
Antique Victorian Burr Walnut Inlaid Credenza c.1860
Antique Victorian Burr Walnut Inlaid Credenza c.1860

Antique Victorian Burr Walnut Inlaid Credenza c.1860

c. 1860 England

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This is a superb antique mid Victorian ormolu mounted burr walnut marquetry credenza, circa 1860 in date. The entire piece highlights the unique and truly exceptional pattern of the burr walnut grain extremely well.

This credenza has a panelled door in the centre which has intricate hand cut marquetry with floral marquetry, a sunburst, a mask and swags. It opens to reveal a velvet lined interior with two shelves and plenty of storage space for drinks, glasses, crockery, etc.. It has a mirrored door at either end, each enclosing a velvet lined interior with two shelves. It has four imposing Corinthian columns which are the finishing touch to this elegant piece.

Oozing sophistication and charm, this credenza is the absolute epitome of Victorian high society. Its attention to detail and lavish decoration are certain to draw the eye wherever you choose to place it in your home.

Condition:

Excellent untouched condition. Will be restored in our workshops before delivery and this is included in the price.

Dimensions in cm:

Height 201 x Width 106.5 x Depth 49

Height 79 x Width 19 x Depth 41.5

Dimensions in inches:

Height 79.1 x Width 41.9 x Depth 19.3

Height 31.1 x Width 7.5 x Depth 16.3
Burr Walnut refers to the swirling figure present in nearly all walnut when cut and polished, and especially in the wood taken from the base of the tree where it joins the roots. However the true burr is a rare growth on the tree where hundreds of tiny branches have started to grow. Burr walnut produces some of the most complex and beautiful figuring you can find.

Marquetry is decorative artistry where pieces of material (such as wood, mother of pearl, pewter, brass silver or shell) of different colours are inserted into surface wood veneer to form intricate patterns such as scrolls or flowers.

The technique of veneered marquetry had its inspiration in 16th century Florence. Marquetry elaborated upon Florentine techniques of inlaying solid marble slabs with designs formed of fitted marbles, jaspers and semi-precious stones. This work, called opere di commessi, has medieval parallels in Central Italian "Cosmati"-work of inlaid marble floors, altars and columns. The technique is known in English as pietra dura, for the "hardstones" used: onyx, jasper, cornelian, lapis lazuli and colored marbles. In Florence, the Chapel of the Medici at San Lorenzo is completely covered in a colored marble facing using this demanding jig-sawn technique.

Techniques of wood marquetry were developed in Antwerp and other Flemish centers of luxury cabinet-making during the early 16th century. The craft was imported full-blown to France after the mid-seventeenth century, to create furniture of unprecedented luxury being made at the royal manufactory of the Gobelins, charged with providing furnishings to decorate Versailles and the other royal residences of Louis XIV. Early masters of French marquetry were the Fleming Pierre Golle and his son-in-law, André-Charles Boulle, who founded a dynasty of royal and Parisian cabinet-makers (ébénistes) and gave his name to a technique of marquetry employing tortoiseshell and brass with pewter in arabesque or intricately foliate designs.


Ormolu (from French 'or moulu', signifying ground or pounded gold) is an 18th-century English term for applying finely ground, high-carat gold in a mercury amalgam to an object of bronze.The mercury is driven off in a kiln leaving behind a gold-coloured veneer known as 'gilt bronze'.

The manufacture of true ormolu employs a process known as mercury-gilding or fire-gilding, in which a solution of nitrate of mercury is applied to a piece of copper, brass, or bronze, followed by the application of an amalgam of gold and mercury. The item was then exposed to extreme heat until the mercury burned off and the gold remained, adhered to the metal object.

No true ormolu was produced in France after around 1830 because legislation had outlawed the use of mercury. Therefore, other techniques were used instead but nothing surpasses the original mercury-firing ormolu method for sheer beauty and richness of colour. Electroplating is the most common modern technique. Ormolu techniques are essentially the same as those used on silver, to produce silver-gilt (also known as vermeil).
Stock Code
05159
Regent Antiques

Regent Antiques
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318 Green Lanes
London
N4 1BX

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