Antique cut crystal fruit bowl on gilded bronze fish base (6733)

EN

Dimensions: Height — 17.5 cm Width — 34.5 cm

Antique cut crystal fruit bowl on gilded bronze fish base

Craftsmanship & Period The bowl was crafted in the second half or late 19th century, during the Empire (Imperial) or Second Empire style period. This era saw a revival of interest in antique natural and mythological elements in European decorative arts and table culture, where the classic symbiosis of gilded bronze and heavy glass testified to the refined taste of city dwellers.

Material & Technique This furniture-level interior piece is substantial and heavy in weight. The upper bowl is made of high-quality, resonant, and thick crystal, adorned with a rhythmic, precise, and deep diamond (diamond cut) and facet cut, ensuring excellent light refraction and sparkle. A gilded metal rosette in the shape of a flower is embedded in the center of the crystal. The base of the bowl is an artistic casting in gold-colored bronze or brass — three majestic, intricately detailed fish or mythical dolphin figures with clearly visible scales and fins, supporting the weight of the crystal with their curved bodies and resting on a smooth, massive disc-shaped base.

Application & Interior Use This medium-sized bowl, over 34 cm wide, is an exquisite and functional centerpiece for a large dining table, console, or mantelpiece. It is perfectly suited for serving fruits, bunches of grapes, or standalone decorative compositions, instantly bringing a warm, aristocratic glow and visual substance to the room.

Condition The bowl is in excellent antique condition. The heavy crystal has no chips, cracks, or flakes, which is rare for glass items of this age. The bronze and brass base is firm, stable, and its gold-colored plating has been very well preserved, with only minimal, natural patina in the recesses, maintaining the item’s authenticity and true value. The condition of the item is fully reflected in the photographs.

Empire Era Snapshot: Gabriele D’Annunzio (Gabriele D’Annunzio) slowly approached the window, where the afternoon light slid across the dark wood panels of the bedroom. In the center of the salon, catching the sun’s rays, shimmered a heavy and clear wave form, within whose depths, behind a polished transparency, lay three gilded natural figures with upward-turned tails. He did not touch the object, only watched as the scales of the mythical creatures froze in the semi-darkness under the weight of the crystal, as if three sea guardians had stopped time in this room forever. The cool smoothness of the metal base and the morning freshness entering the room brought a cozy satisfaction to the boudoir, and this calm anticipation remained in the room long after the sea outside had completely darkened.

RU