A Victorian Aesthetic Movement Ebonised & Parcel Gilt Octagonal Centre Table
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Origin: English
Period: Victorian
Provenance: Unknown
Date: c.1880
Height: 28.5 inches
Width: 34 inches
Depth: 34 inches
The ebonised and parcel gilt octagonal topped centre table on the original brass castors with gilt flute decorated turned legs united by an x-frame cross stretcher with finialled central column, survives from late nineteenth century England.
The table has obviously been in use and as such the top has signs of wear especially to its edges, and to the top where there are several marks, though it makes for a decorative piece. All of the components of the table are true and original with no later replacements. She still remains relatively sturdy and moves on her castors.
The aesthetic movement can be seen as the bridge to the arts and crafts style. It often had formalised, restrained ornamentation, and was heavily influenced by Japanese decoration, knowledge of which flowed to the West in the nineteenth century through oriental imports. It rebelled against the lavish ornamentation and over-embellishment of the high Victorian period, and sought a purer, more precise level of expression. Gillows of Lancaster, Lamb of Manchester and Collinson and Lock, all very good makers, produced very similar tables to this one so it is quite possible it is from one of those stables.
The tables colour, style and shape means she seamlessly slots into a modern interior or indeed as part of a more eclectic setup.
Period: Victorian
Provenance: Unknown
Date: c.1880
Height: 28.5 inches
Width: 34 inches
Depth: 34 inches
The ebonised and parcel gilt octagonal topped centre table on the original brass castors with gilt flute decorated turned legs united by an x-frame cross stretcher with finialled central column, survives from late nineteenth century England.
The table has obviously been in use and as such the top has signs of wear especially to its edges, and to the top where there are several marks, though it makes for a decorative piece. All of the components of the table are true and original with no later replacements. She still remains relatively sturdy and moves on her castors.
The aesthetic movement can be seen as the bridge to the arts and crafts style. It often had formalised, restrained ornamentation, and was heavily influenced by Japanese decoration, knowledge of which flowed to the West in the nineteenth century through oriental imports. It rebelled against the lavish ornamentation and over-embellishment of the high Victorian period, and sought a purer, more precise level of expression. Gillows of Lancaster, Lamb of Manchester and Collinson and Lock, all very good makers, produced very similar tables to this one so it is quite possible it is from one of those stables.
The tables colour, style and shape means she seamlessly slots into a modern interior or indeed as part of a more eclectic setup.