A Royal Worcester demitasse cup and saucer, circa 1921, the…
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A Royal Worcester demitasse cup and saucer, circa 1921, the delicate and elegant pedestal cup with a sweeping curvaceous handle, decorated with a deep lappet border with gilded scrolls and swags and red enamel jewels upon white to a satin glazed black base, burnished gold to the interior, the saucer similarly embellished; puce backstamps underside. Height 6 cm. (cup) diameter 11 cm. (saucer)

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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.
  • Floral Swag / Garland / Festoon - Floral swags are a decorative motif often used in the ornamentation of various objects, such as silverware, glassware, and furniture. The term "swag" refers to a garland or wreath of flowers, foliage, or other decorative elements, which is usually arranged in a loop or curve.

    Floral swags can be found in a variety of decorative styles, from ornate Baroque and Rococo designs to more naturalistic Art Nouveau and Art Deco styles. They are often used to add a touch of elegance, refinement, or whimsy to an object, and can be seen on a range of items from chandeliers and candlesticks to picture frames and tea sets.

    In the decoration of silver objects, floral swags are often used to accentuate the curves and lines of the piece, and to add visual interest to the surface. Similarly, on glass objects, floral swags may be used to frame or highlight a particular area of the object, or to add a touch of color and delicacy.

    On furniture, floral swags can be found on a variety of pieces, from cabinets and armoires to chairs and sofas. They are often used to enhance the lines and curves of the furniture, and can be used to create a sense of movement and flow in the design.

    Overall, floral swags are a versatile decorative element that can be adapted to a range of styles and applications, and have been used in the decoration of various objects throughout history.
  • Lappet Decoration - In the context of furniture, ceramics, and oriental wares, the word "lappet" refers to a decorative motif that consists of a repeated pattern of stylized or abstracted "lappets."

    A lappet in this context is a decorative element that resembles a small, hanging flap of cloth or fabric, but rather are stylized patterns that resemble the shapes and folds of lappets. They can be found on a wide range of objects, including furniture, vases, bowls, and plates.

    Lappet decoration can take many different forms, but typically consists of a series of semi-circular or pointed shapes that are repeated in a continuous pattern. The shapes may be simple or highly ornate and may be arranged in a regular or irregular pattern. The design may also include other decorative elements, such as floral or foliate motifs.

    Lappet decoration is often associated with Asian design traditions, and can be found on a wide range of objects from these regions, including Chinese porcelain, where lappet decoration is often used as a symbol of abundance and prosperity, and is believed to have protective and auspicious qualities.
  • 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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