This process, which I've written about many times, is one only accomplished with the skill of years and years of practice. The enamel powders are various shades of muddy mauve, taupe, blues, not the least resembling the color they will become once the kiln melts them into the glassine or porcelain like finished product you see here. So an artist is layering on stroke after stroke, working quite literally blind as far as the colors and spacing of the finished outcome he/she hopes to achieve. It is the memory that guides the hand in this art. And subject to such whims of nature and memory, it's always amazing to me that they come out with anything but a glob. I've tried this art, myself, and believe me, it's very difficult. I mostly get globs. The nature of the process is part of the reason why these old kiln-fired objects have such a following and bring the prices they continue to bring. Here we have a French beauty in forest green accented in pale pink, white, and gold, entirely hand decorated and fired in succession so the pink is a bit raised, the gold is raised. The box has 5 separate convex panels, copper, onto which the enamelist's craft has been worked. All in fine form. The old silk velvet lining remains inside, shows age but not much loss to the nap, which is unusual. Photos show it well.
Very good to excellent condition for age and type, there are no chips or cracks of note to mention, though in certain light one can see a son of fracturing hairline under the kiln-fired enamel on the left of the lid. An imperfection of the process, not damage from all we can ascertain.
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Antique French sterling silver, Georgian jewelry, sewing, Black Forest, etc 17th to 19th c. European
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