These wall sconces feature the process for reverse-decorating glass with metal foil and paint which is thought to have derived its name from a French framer Jean-Baptistè Glomy (d. 1786) who rediscovered the technique in the late 18th century. Although verre églomisé is typically associated with the borders of late 17th/early 18th century mirrors, this method of decoration was practised during the high renaissance as demonstrated by the celebrated Vyvyan Salt recorded in the collection at the Victorian and Albert museum, London (See Percy Macquoid and Ralph Edwards, The Dictionary of English Furniture, 1954 rev. ed., 3 vols., Vol. III, p. 363).
Whilst the verre églomisé borders found on mirrors contemporary to the present lot are characterised by Berainesque influenced designs, the decoration here is more typical of the Chinoiserie motifs applied to English and continental japanned cabinets of the same period. One of the principal design sources for japanning was John Stalker and George Parker's Treatise of Japanning, Varnishing and Guilding published in 1688 and the decoration on the appliqués here appear to be a rare example of the verre églomisé technique expressed in this style.