Pair of Charles x ormolu-mounted malachite oil lamps, second…
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Pair of Charles x ormolu-mounted malachite oil lamps, second quarter 19th century, each with an urn-shaped body raised on a circular malachite base with an ormolu border ending in bun feet, the whole decorated with guilloche, trailing grape leaves, stylized palmette and berried laurel leaf borders. 15 cm high. Ex. Sotheby's New York

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  • Ormolu - Ormolu was popular with French craftsmen in the 18th and 19th century for ornamental fittings for furniture, clocks and other decorative items. True ormolu is gilt bronze, that is bronze that has been coated with gold using a mercury amalgam. Due to the health risks associated with using mercury, this method of creating ormolu was discontinued in France in the 1830s. A substitute was developed consisting of about 75% copper and 25% zinc, however it was inferior to the bronze version. It was often lacquered to prevent it tarnishing.
  • Laurel Leaf - The use of the laurel leaf as a decorative element can be traced back to ancient Greece and Rome, where it was closely associated with victory and honour. In these cultures, the laurel was a sacred tree that was dedicated to the god Apollo and was believed to have protective and healing properties.

    In ancient Greece, the laurel wreath was awarded to victors in athletic competitions, such as the Olympic Games, as a symbol of their achievement. The wreath was also associated with academic achievement, and was often worn by scholars and poets. The Greeks also used the laurel leaf as a symbol of victory in war, and it was often depicted in artwork alongside images of triumphant warriors and heroes.

    The Romans continued this tradition, and the laurel wreath became a symbol of the highest military honor, the triumph, awarded to victorious generals. The wreath was also used to crown emperors and other important officials, and was often depicted in Roman art and architecture as a symbol of power and authority.

    The laurel leaf is still used as a symbol of achievement, success, and excellence, and is frequently used in logos, emblems, and other branding materials. Its association with victory and honour has made it a popular choice for awards, medals, and other forms of recognition.
  • 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.
  • Palmette - A decorative motif used in the decoration of ceramics, textiles and furniture, based loosely on the palm leaf and sometimes used with the anthemion, from which it is often difficult to distinguish. The form of the palmette varies from ornate to simplistic.
  • Guilloche - A form of classical decoration consisting of a repeating ornament of interlacing curved bands, sometimes forming circles, and further decorated with rosettes or other flower forms.

    The name is derived from the inventor, French engineer Guillot, who invented a mechanical method of inscribing fine repeating patterns on to metallic surfaces.

    On enamelled items with guilloche decoration, the surface is firstly engraved with the repeating pattern, and then covered with several layers of enamel, each of which is fired.

    Where the item has not been enamelled the form of decoration is usually called "engine turned".

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