A Royal Worcester porcelain 'Limoges Enamel' decorated plaque,…

A Royal Worcester porcelain 'Limoges Enamel' decorated plaque,…
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A Royal Worcester porcelain 'Limoges Enamel' decorated plaque, circa 1880, the enamel decoration by Thomas John Bott, oval, cobalt blue ground, finely decorated in white enamel with 'La Jeunesse et l'Amour' after William Bouguereau within a rustic arbour-like border in raised gilding, signed 'T.J. Bott.' within the drapery lower right, mounted in an antique oval gilt frame (the reverse of the plaque presently concealed but said to be unmarked as to manufacture), 24.5 cm x 15 cm (plaque overall, including edges concealed within the present frame). Condition: plaque: apparently in very good condition. Reverse not inspected presently sealed within the frame., frame: not original, repainted in gold throughout

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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.
  • Rustic - Rustic is defined as "of, relating to, or typical of country life or country people", and the items illustrated in this price guide accord with that definition.

    But in the 18th and 19th century "rustic furniture" had a narrower definition. It referred to furniture where the framework was carved or moulded to resemble tree trunks and branches, and was usually for outdoor use. Rustic furniture was made in cast iron, wood, terracootta and concrete. Much of the Coalbrookdale company's cast iron furniture was of rustic design.
  • Gilding - Gilding is a method of ornamentation whereby a thin sheet of gold metal is applied to items made of wood, leather, ceramics, glass and silver for decorative purposes.

    For furniture including mirrors, the sheet of gold is usually applied over a coating of gesso. Gesso is a mixture of plaster of Paris and gypsum mixed with water and then applied to the carved wooden frames of mirrors and picture frames as a base for applying the gold leaf. After numerous coats of gesso have been applied, allowed to dry and then sanded a coat of "bole", a usually red coloured mixture of clay and glue is brushed on and allowed to dry, after which the gold leaf is applied. Over time parts of the gilding will rub off so the base colour can be seen. In water gilding, this was generally a blue colour, while in oil gilding, the under layer was often yellow. In Victorian times, gilders frequently used red as a pigment beneath the gold leaf.

    Metal was often gilded by a process known as fire gilding. Gold mixed with mercury was applied and heated, causing the mercury to evaporate, the long-term effect of which was to kill or disable the craftsman or woman from mercury poisoning. The pursuit of beauty has claimed many victims, not the least of which were the artists who made those pieces so highly sought after today.

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