A very rare and superb solid malachite and gilt-bronze…
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A very rare and superb solid malachite and gilt-bronze embellished centre table, Russian, mid 19th century. Provenance: Acquired from Alexander and Berendt, 1A Davies Street Berkeley Square, London W1- in 1981. The Estate of Judith and Bruce Terry, 16 Moule Avenue Brighton Victoria, Australia. Following Russia's victory over Napoleon in 1812, there was a new mood in Russia, one of celebration and self-confidence. It was this mood which eventually found its way into the world of decorative arts, as innovative architects and makers were invited to design the palaces of Tsar Nicholas I. Malachite was one of the new materials which found favour among Russian designers, for its intense green colour and its preciousness. Indeed, in the later 1830's, the wife of Tsar Nicholas I, Empress Alexandra Feodorovna, commissioned an entire room in St Petersburg's Winter Palace to be made entirely out of malachite. Consequently, many new lapidary workshops started to emerge in the early 19th Century, a majority of which worked to make beautiful, extravagant pieces in malachite using the new 'Russian mosaic' technique, which allowed malachite veneers to be applied to extremely large and exquisite pieces. In 1835, large deposits of malachite, a stalagmitic form of green carbonate of copper, were found on one of the estates of the Demidov family. This discovery enabled Russian artisans to use malachite in lavish ways never before imagined. Always used strictly as veneer except in very small objects, malachite was applied either in a random arrangement, or in a pattern recreating the veins of malachite, as seen on this table top. Malachite was usually cemented to a slate or a metal base by employing a technique known as Russian Mosaic. Ground malachite was then added to cement to form a breccia, a glue that hardened quickly. The malachite breccia ensured that the seams between small pieces would be less noticeable. As the technique for cutting malachite plaque to form a pattern was not developed until about 1845, this table probably dates to circa 1855, the same date as the Louis XV style malachite fireplaces in the Winter Palace and in the Lusupov Palace, St Petersburg. The mine from where this supply came from is the Mednovudyansk mine, Ninny Tagil, Middle Urals. There was a very important discovery of two huge boulders in around 1834 and another a little smaller below it in 1843. The British Geologist Sir Roderick Imey recorded them in his diary. The actual venerating is of the best work, because of the crossed rivers and flower shapes which has been created by a master of the technique. Dimensions: 80 cm diameter, 83 cm high
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- Circa - A Latin term meaning 'about', often used in the antique trade to give an approximate date for the piece, usually considered to be five years on either side of the circa year. Thus, circa 1900 means the piece was made about 1900, probably between 1895 and 1905. The expression is sometimes abbreviated to c.1900.
- Malachite - Malachite is bright copper-green coloured stone with concentric layers which displays distinct contrasting veinings. It has been valued in the past for making or decorating small precious objects such as clocks, jewellery, dishes and so. In the Orient it was used for snuff bottles and in Russia and was favoured by the Faberge workshop. larger pieces were used for table tops.
The principal source of supply was Russia but it is to be found in other regions such as Southern Africa, Mexico, Australia and France.
Malachite glass is a manufactured material that was intended to resemble malachite, but often bears more resemblance to a veined coloured marble due to its lower gloss finish and lack of concentric layers. Malachite glass was manufactured by many glassworks in the 19th century including Loetz in Austria and others in Bohemia and Davidson's Greener's and Sowerby in north eastern England.
It was particularly used for scent bottles, bowls, and small vases often decorated with nymphs.
Malachite glass has been manufactured continuously since the late nineteenth century, most is unmarked and it is difficult to distinguish the age or manufacturer of most commercial pieces.
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