Grezns antīks franču ovāls koka rāmis zelta krāsā ar stiklu un zaļu paspartū — Paul Degrandsart Paris (antique pair of F (4259)

Height: 71 cm

Width: 49 cm

The price is for 1 pc., 2 pcs. available.

Luxurious antique oval wooden frame in gold color with glass (antique pair of oval gilt wood frames)

19. The aesthetic and craftsmanship of 19th-century Parisian high society are embodied in this expressive gilded wooden frame. It is designed in an elegant synthesis of historicism and Louis XVI style. The oval shape of the frame is visually expanded and highlighted by a unique, finely greenish-gray inner mat profile with a decorative serrated edge, which adds depth to any artwork or mirror placed within it. The perimeter of the frame is adorned with delicate, symmetrically arranged floral and leaf motifs, while its compositional top is crowned by an impressive, sculptural cartouche with an expressive acanthus leaf and seashell (rocaille) intertwining.

This item is more than just a decorative object; it is a true witness to art history. The original workshop paper label is fully preserved on the back of the frame: “Portrait BEL ART – Fabrique de Cadres, Paul Degrandsart, 3, Avenue de la Porte de Clignancourt, PARIS (18e Arr.)”. This attests to its authentic origin from the famous artists’ and artisans’ quarter of Montmartre and Clignancourt in Paris, which has been the epicenter of European interior fashion for centuries.

The frame is equipped with its original glass and a sturdy historical cord mount on the back. The item is in excellent antique condition – the wooden construction is firm, the carved details are fully preserved, and the noble gold-colored finish has acquired a pleasant patina of time with a fine texture. As two identical frames are available, they are ideal for creating a symmetrical interior composition in a living room, hallway, or salon on either side of a door, window, or console table.

A snapshot of the era, Max Paul Berchi’s workshop: In the autumn of 1880, a creative and elegant intelligence pervades the office of Libau city architect Max Paul Berchi. The room smells of freshly ground coffee and ink, and proudly displayed on the wall above the massive drafting table is this wide gold frame with its characteristic green mat border. In its original glass, crowned by a magnificent Parisian workshop seashell cartouche, the silhouette of Burgomaster Karl Ulrich himself is briefly reflected, who has come to discuss the drawings of the city’s major buildings.

Berchi, whose handwriting would soon define the red brick and Neo-Renaissance architecture of the entire city, appraises this work by the Parisian master Paul Degrandsart with the professional eye of a sculptor and architect. For him, this gilded frame is more than just a salon decoration – it is a model of style and proportion, where artistic freedom meets mathematical symmetry. As the two men discuss the details of the construction of the new Stock Exchange building at the table, this artwork on the wall serves as a silent testament that Libau has long been breathing in rhythm with the great European culture.

Outside, a carriage slowly passes by the windows, and the distant sounds of dockworkers are a reminder of the city’s relentless growth. But here, in the architect’s creative sanctuary, the frame’s golden surface and deep green mat border maintain a noble tranquility that no turn of time can disturb. Ulrich nods slightly, confirming another line on the drawing, and the eyes of the two city magnates briefly meet the unchanging, noble shine of this Parisian masterpiece, which stands as the final, exquisite seal of the old era.