Museum Piece:
 Gorge de Pigeon Opaline footed Tazza with bronze birds on a side.
Perfect Condition.
Measures: 9cm high, 5,5cm width of the foot.
History:
Charles X French Opaline pink,pigeon thought colour glass Tazza raised in a foot.ormolu bronze mount on the rim.Perfect Condition!The decoration of Desvignes’ workshop( Desvignes atelier). Jean-Baptiste Desvignes was a decorator active in Paris from 1817 to 1826. He was a painter and gilder of porcelain and crystal. In 1817, he filed a patent for a process of gilding and painting on crystal without firing or inlaying the crystal.By the end of the 18th century, the French had succeeded in imitating English crystal, renowned for its brilliance. During the Empire, the coloring of this crystal gave rise to what we now call opaline—and what was then known as opal crystals or opal-colored crystals. The objects produced—cups, ring holders, vases, and mantelpieces—initially adopted the simple forms of the Neoclassical revival. These luxurious objects were often mounted in gilded bronze.Beginning with the reign of Charles X, the forms became more substantial, only to stretch and curve even more gracefully during the Second Empire. Soft colors gave way to bolder hues, inspired by Bohemian glass. The delicate shades of pink were achieved using gold salts.Starting in 1840, for economic reasons, pink glass was no longer dyed throughout but instead lined with colored glass. In the early 19th century, Le Creusot, Baccarat, and Saint-Louis were the main production centers. Subsequently, numerous crystal factories were established around Paris: Bercy, Choisy-le-Roi, Belleville, Clichy…Restoration period Glassware :One field that reached its peak in the mid-1820s was glassware. The most refined and sumptuous examples of cut crystal are attributed to the reign of Charles X. Indeed, the years 1815–1830 represent a true golden age of glass in France, whose reputation was international thanks to the exceptional productions of the Baccarat, Creusot, Choisy-le-Roi, and Bercy crystal factories.The objects, made of molded crystal or cut with a diamond point and remarkable for their quality, are mounted in silver or gilded bronze, very finely engraved with dolphins, swans, or cornucopias. Often, ram’s heads or coiled snakes form the handles.After 1814, as forms were no longer dictated by the Court and thus no longer adhered to a specific aesthetic program, they were inspired by the newly wealthy classes, who imposed their tastes on fashionable objects such as opal-colored glassware.Opaline was used to make boxes, bottles, and vases. Around 1820, technical advances in the glass industry marked a turning point in the history of opaline, giving rise to new forms and decorations. It was during this period that so-called “cornet” vases, round bottles with ball-shaped stoppers, bowls, candy dishes, scent bottles, and other decorative objects first appeared. The bronze mounts are finely engraved with motifs common to both the Restoration and Empire periods, such as dolphins, swans, doves, or drinking birds.In this context, Jean-Baptiste Desvignes (1786–1826), a painter and gilder of glass, crystal, and porcelain, developed a technique for painting on opaline. He used gold or silver leaf and exclusively vegetable-based pigments, which he applied to the opaline crystal. The matte tones are limited to dark blue and red. Gilding dominates, in the form of delicate, finely drawn motifs of palmettes, small flowers, and garlands. On certain chests and bowls, Desvignes applied “Gothic” decorations. He also created small illustrative scenes inspired by La Fontaine’s fables, in delicately muted hues—blue, soft green, ochre, and mauve—with gold or silver accents.“Overlay” glass bottles were also highly popular under Charles X. This decorative process involved coating the crystal with a layer of white or colored enamel. It was discovered by the Englishman Joseph Prince of Durham, who filed his patent in 1814. Composed of two layers of glass—semi-crystal or crystal of different colors—the decoration is produced using two different methods corresponding to either an interior or exterior lining. In most cases, the outer layer is made of white or colored enamel. Lining requires a cut design. To reveal the inner layer, the cutter carves into the outer layer and creates various designs such as pontils, hollow ribs, checkerboard patterns, stars, or cords. France imports The glass and opal crystal of the Restoration period remain unmatched in the simplicity and purity of their forms, the delicacy of their hues, and the finesse of their engraving—qualities that became increasingly rare after the reign of Charles X.
