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After the French Revolution, the extravagant and ornate tastes of the courts of Louis XIV, XV and XVI were shunned. A return to classicism in furniture and decoration is evident in the Directoire and Empire periods that followed.
Louis Philippe, the son of the duc d’Orleans, returned from exile to France and became King in 1830, the last of the French monarchs. His reign was marked by peace and stability. He, too, embraced classicism, perhaps out of fear of ending with his head chopped off, as did his royal predecessor. Mirrors from that time period, commonly referred to as “Louis Philippes”, can still be found relatively easily and affordably, both in France and Italy. They are classic in shape—all wood moldings, rounded shoulders and flat bottoms. They are deceptively simple, thus able to work so well in almost any decor. Finishes (one more interesting than another) may vary but the craftsmanship is superb. Because the style is still being produced, value would be determined by age, condition and decoration.
The typical Louis Philippe has coved moldings. Lines are incised in floral or geometric patterns on the raised molding. Creative use of oil and water gilding (low gloss, high gloss) provides contrast to highlight the decoration. The result is a work of art—subtle but magnificent. Depending on the age and condition of the piece, you may see bole or gesso showing through the gilding. Bole is the pigment mixed with a binder that adheres the leaf to the gesso ground. It helps smooth any irregularities of the gesso surface and it enhances the tone of the gilding. Bole is most often found in various shades of red, blue and yellow. You can often find the bole showing through the gilding in older pieces and reproductions. Gesso is the normal ground for gilding. It is a preparation of chalk or plaster of Paris mixed into paste with glue or gelatin. It is coated onto the surface, allowed to dry and rubbed until smooth and hard. It hides the wood grain of the frame and evens any imperfections in the carving.
Some Louis Philippes have the original mercury backed mirror plates; others have newer or replacement mirror. Some pieces are wonderfully rich and in pristine condition; others are more patinated or distressed. There truly is a Louis Philippe for any preference.
Napoleon III succeeded Louis Philippe. His wife, Empress Eugenie, was enamored of the more flamboyant styles of Louis XV and XVI—a fussier, more romantic and embellished look. You find the classic “Louis Philippe” shape during the rule of Napoleon III but the style has been altered. The coved molding now has raised ornamentation. Black and gold is prevalent but occasionally you find a painted piece.
Late 19th c., Americans developed their version of a “Louis Philippe”. For lack of an official term, we call these Victorian dome-tops. The top is rounded (no shoulders) and the bottom “hips” are curved. You usually find these in wood or gilt.
A stress point of a “Louis Philippe” frame is at the joint of the curved shoulder to the straight frame. Older frames will usually have some evidence of splitting or separating at these joints. A French dealer once told me when I was questioning (and fretting over) a split, “Madame, if the splits aren’t there, it is not a period piece!” Be sure, however, that the piece you buy is structurally sound.
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