Thursday, March 20, 2008

Sarreguemines, Utzschneider & Co Manufacture, Empire period, circa 1810.

Sarreguemines, Utzschneider & Co Manufacture,
Empire period, circa 1810.
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DETAIL: Sarreguemines, Utzschneider & Co Manufacture,
..................................Empire period, circa 1810.
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SARREGUEMINES, UTZSCHNEIDER & Co MANUFACTURE A SIX-LIGHT SUSPENSION
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Sarreguemines, Utzschneider & Co Manufacture, Empire period, circa 1810. MATERIAL : sandstone in imitation of red porphyry ; gilt bronze. DIMENSIONS: 40 7/8 in. high (104 cm.); 20 ½ in. diameter (52 cm.).
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PROVENANCE: Private collection (SDK)

Very Important Paire of French Empire Candelabras by Claude Galle & Gérard-Jean Galle

Very Important Paire of French Empire Candelabras
by Claude Galle & Gérard-Jean Galle
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Paris, 1810
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The only other identical pair know in existence is in the imperial palace in Pavlovsk, St. Petersburg
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PROVENANCE: Private collection (SDK)

Sunday, March 9, 2008

A pair of gilt bronze Empire vases by Piat-Joseph Sauvage Paris, ca. 1804

A pair of gilt bronze Empire vases, decorated with friezes depicting the Triumphs of Augustus and Alexander by Piat-Joseph Sauvage Paris, ca. 1804
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PROVENANCE: Private collection (SDK)

Rare pair of early 19th Century Empire Candelabras Époque by Pierre-Philippe Thomire

Rare pair of early 19th Century Empire Candelabras Époque
by Pierre-Philippe Thomire (signés THOMIRE A PARIS)
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PROVENANCE: Private collection (SDK)

Roman, Porphyry Bust, partly ancient with 17th century additions

Roman, Porphyry Bust, partly ancient
with 17th century additions
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Roman, Porphyry Bust, partly ancient
with 17th century additions

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Roman, partly ancient with 17th century additionsa fine and impressive porphyry bust of a consulthe head of a dark porphyry with ruffled curling hair and strong powerful features with deep set eyes set into pinker porphyry shoulders clad in classical armour with a toga thrown across the left shoulder, the aiguilettes decorated with grenades and lion masks with rings terminating in ribbon ties, the cuirasse centred by a winged Medusa's head, a gilt bronze collar at the truncation of the head60cm., 23 1/2 in. on mottled green socle
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This head with its powerful physical likeness and expressive eyes is representative of late Roman portrait sculpture of the 2nd half of the third century and later. The hair which has been left in its weathered state is in contrast to the face which has apparently been restored as is evident with the infill executed at a later date. It had been suggested that this portrait may be rather of early Byzantine origin. The head of Emperor Constantine of around 315 in the Palazzo dei Conservatori in Rome shows the pupils to the eyes which do bear some resemblance. The mysterious four imperial figures, probably the Tetrarchs in Venice, said to be of the early fourth century and from Constantinople, are carved from the same dark brownish hard porphyry but show much less physical likeness than the present head. Indeed they appear somewhat stylised in contrast.
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The shoulders are of a late to High Renaissance style and of a more flamboyant form. However the back does appear strangely enough to have an ancient surface and has been strenghtened with an iron bar to secure it to the socle. It is again possible that the shoulders have also been reworked and polished from an ancient original. Katrin Kalvaran in her study of the collection of Cardinal Scipio Borghese (p.170) describes the restoration of two parthans now in the Louvre which was begun in 1616 and refers to the restorer and intagliatore Lorenzo Nizza.
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Red porphyry marble was first mined by the Romans in the province of Egypt, from the reign of Claudius. Prized by the Romans for its beauty and rarity it is difficult to carve and the technique was lost until the sixteenth century when it was revived in the Grand Ducal workshops of Medici Florence.
Sale: L01291 Location: London, New Bond Street Auction
Dates: Session 1: Wed, 11 Jul 01 10:30 AM
PROVENANCE: Private collection - SDK

Set of four 17th Century Rare carved Marble and Jasper veneered busts, on four marble Pedestals representing Ladies of a Roman Aristocracy

Set of four 17th Century Rare carved Marble and Jasper
veneered busts, on four marble Pedestals representing
Ladies of a Roman Aristocracy
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Two of these Roman matrons busts are representing Ladies of a Roman Aristocracy, all four belong to a series of portrait busts from the interiors of Palazzo Labia from the early 17th century in Rome. The bust second from the right (with the less intricate hairstyle): representing the Empress Faustina Maior (104-141 d.C.), wife of Emperor Antonino Pio and similar to the bust in Museo Capitolino, Stanza degli Imperatori, 27. First mentioned in 1703 it entered the Museo Capitolino from the Albani collection. The bust of a young girl with her hair tied up at the back: is related to well known figure of St. Suzanna (circa 1632) by François Duquesnoy in the church of St. Maria di Loreto al Foro Traiano, Rome.
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PROVENANCE: Private collection SDK, 235,420.00 EUR MI0239/05.04
(Formerly at Palazzo Labia, VENICE, Italy )
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QUATTRO RARI BUSTI FEMMINILI SCOLPITI IN MARMO BIANCO ED IMPIALLACCIATI IN DIASPRO SU QUATTRO PIEDISTALLI CON PIANO E BASI IN MARMO BIANCO, ROSSO E BIGIOROMA, SECOLO XVII
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MEASUREMENTS
cm 127x43x26

Important early 19th Century French Empire Clock 'The Fall of Phaeton' by Claude Galle

Important early 19th Century French Empire Clock
'The Fall of Phaeton' by Claude Galle (signed Claude Galle)
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PROVENANCE: Private collection (SDK)

A Bronze Head of a Young Athlete, Roman Imperial, circa late 1st Century B.C./1st Century A.D.

A Bronze Head of a Young Athlete,
Roman Imperial, circa late 1st Century B.C./1st Century A.D.
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DESCRIPTION
A Bronze Head of a Young Athlete, Roman Imperial, circa late 1st Century B.C./1st Century A.D., after a Greek original of the 4th Century B.C. by Lysippos or a contemporary sculptor of the 2nd half of the 4th Century B.C., from an over-lifesize figure turned to his left and looking down, his face with outlined lips formerly overlaid in copper, straight nose merging into the prominent brow, and wide-set hollow eyes, the ancient inlays missing, his hair radiating from the crown in vigorously rendered whorls of voluted overlapping curls and brushed up above the forehead in short overlapping locks, the interior flange behind the chin for attachment to the separately cast body of the ancient statue.Height 11 3/4 in. (29.9 cm.)The head is sold together with bronze shoulders created for it in Renaissance Italy.Provenance:Senator Bernardo Nani (1712-1761), Venice
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Sold: 4,515,750 USD

A quéridon table attributed to Sebastian Youf ca. 1830

A quéridon table attributed to Sebastian Youf
circa 1830
Sold at the Galerie Ariane Dandois
PROVENANCE: Private collection

Pendule Tête de Minerve en Bronze ciselé, doré et patiné. Le Cadran signé de Blanc fils, Palais Royal.

Pendule Tête de Minerve en Bronze ciselé, doré et patiné. Le Cadran signé de Blanc fils, Palais Royal. Le dessin, projet du modèle, a été déposé par Martin et Norblin en 1808, il est conservé à la biblioth`que Nationale. Epoque: Empire H: 38.5- L 20- P 12.5 cm.
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PROVENANCE: Private collection (SDK)

PAIRE DE COUPES AUX BACCHANTES D'ÉPOQUE RESTAURATION SIGNÉES THOMIRE A PARIS

PAIRE DE COUPES AUX BACCHANTES
D'ÉPOQUE RESTAURATION SIGNÉES THOMIRE A PARIS
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MEASUREMENTS
Haut. 61 cm, Diam. 27 cm

...
PROVENANCE: Private collection (SDK)

CANDÉLABRES D'ÉPOQUE EMPIRE SIGNÉS THOMIRE A PARIS (SUR LA BASE),

BELLE PAIRE DE GRANDS CANDÉLABRES EN BRONZE PATINÉ ET DORÉ
D'ÉPOQUE EMPIRE SIGNÉS THOMIRE A PARIS (SUR LA BASE)
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The Barbara Piasecka Johnson Collection of Furniture, Sculptures and Works of Art, Silver, Ceramics and Old Master Drawings from her home in MonacoSale PF3023Session 1 15 Oct 03 02:30 PMParis
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MEASUREMENTS
haut. 125 cm, larg. 52 cm
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H. Ottomeyer et P. Pröchel dans Vergoldete Bronzen, Munich, 1986, vol. I, fig. 5.2.4, illustrent une paire de candélabres presque identique mais entièrement en bronze doré signée Thomire et aujourd'hui conservée au Metropolitan museum de New York
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PROVENANCE: Private collection Sold to (SDK) 250,875 EUR - Private: SDK

Restauration period gilt bronze mantle clock by Louis-Stanislas Lenoir-Ravrio

Restauration period gilt bronze mantle clock
by Louis-Stanislas Lenoir-Ravrio,
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DETAIL: Restauration period gilt bronze mantle clock
by Louis-Stanislas Lenoir-Ravrio,
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A very important Restauration gilt bronze mantle clock by Louis-Stanislas Lenoir-Ravrio, signed on the gilded dial L Ravrio Bronzier à Paris, the dial with Roman numerals and blued steel hands for the hours and minutes. The movement with anchor escapement, silk thread suspension, striking on the hour and half hour, with outside count wheel. The magnificent case with dial set within the legs of a chair upon which is seated the hero Alexander the Great reading a scroll and wearing armour, his helmet cast with the figure of his horse Bucephalus, alluding to his education by Aristotle, with his right hand dangling over the back of the chair over which is draped his cloak above his sword and shield and a perfume burner, the whole on a rectangular base cast to the left with the head of Darius, King of the Persians and to the right the head of Porus, King of the Indians wearing an elephant mounted helmet, the two kings centred by a large frieze cast with a scene after a painting by Charles Le brun of La Famille de Darius et Alexandre, showing Alexander accompanied by his friend Hephaestion on a visit to Darius’ family taken as prisoners, with Darius’ mother falling at the feet of Hephaestion who she has taken for Alexander. Paris, date circa 1820 Height 75.5 cm, width 71 cm, depth 27 cm. Literature: J. Ramon Colon De Carvajal, “Catalogo De Relojes Del Patrimonio Nacional”, 1987, p. 175, cat. no. 154, illustrating a clock of the same model though unsigned on the dial, the case with slight variations to include the figure of Alexander in patinated bronze, a lack of perfume burner, a red griotte marble base and addition of lion paw feet. Tardy, “Les Plus Belles Pendules Françaises”, 1994, p. 268, illustrating the latter clock. Elke Niehüser, “Die Französische Bronzeuhr”, 1997, p. 222, pl. 510, illustrating a clock.
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PROVENANCE: Private collection (SDK)

Empire gilt bronze and rouge griotte Medici Vases attributed to Pierre-Philippe Thomire (1751-1843)

Empire gilt bronze and rouge griotte Medici Vases
attributed to Pierre-Philippe Thomire (1751-1843)
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An exceedingly fine set of four Empire gilt bronze and rouge griotte Medici Vases on pedestals attributed to Pierre-Philippe Thomire each of krater form with a beaded and gadrooned rim above a frieze of vines and centred by figures of Achilles, Ulysses and Agamemnon beside Iphigenia crouched below a statue of Diana, with fluted handles issuing from bearded masks, on a spreading fluted circular foot and square griotte pedestal decorated with ribbon-tied wreaths on a stepped base with lotus-leaf cast border Paris, date circa 1810 Height 49.5 cm, diameter 23 cm. each. Given their quality and subject matter this very fine set of vases attributed to the eminent fondeur-ciseleur Pierre-Philippe Thomire (1751-1843)

18th Century, Rare Set of Ten Bronze Busts depicting Roman Emperors

18th Century Rare Set of Ten Bronze Busts
depicting Roman Emperors
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PROVENANCE: Private collection (SDK)

Important Paire of French Empire Candelabras by Gérard-Jean Galle

Important Paire of French Empire Candelabras
by Gérard-Jean Galle
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PROVENANCE: Private collection (SDK)

An important pair of Vases made for the Prinz Carl Palais in Munich

(2nd) An important pair of vases,
bearing the initials of Prince Carl Theodor
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(2nd) An important pair of vases,
bearing the initials of Prince Carl Theodor
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Detail (1st/01)
.. Detail (2nd/01)
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An important pair of vases, bearing the initials of Prince Carl Theodor, the brother of King Ludwig I of Bavaria, made for the Prinz Carl Palais in Munich. Nymphenburg Porcelain Manufacture, 1825 Vase model ‚No 19’ by Friedrich Gärtner Painted by Christian Adler Gold and platinum engraving by Joseph Haemmerl Description :The frontal busts imitate onyx cameos. They are inscribed in Greek XILLEYS“ (AXILLEYS) and “PYRRO“ (PYRROS). Other examples for painted imitations of onyx cameos can be found in Sèvres and KPM Berlin porcelain. For Nymphenburg the only other example is a vase made as a wedding present in 1823, featuring the double portrait of the Prussian King Friedrich Wilhelm IV and the Bavarian Princess Elisabeth. The painter for this vase was Christian Adler, chief painter since 1815. The gold engraver was Joseph Haemmerl (1793-1842) whose workmanship is unsurpassed. The initials C and T on the sides of each vase are those of the younger brother of Ludwig I of Bavaria, Prince Carl Theodor. The vases were made for the yellow hall in the Prince Karl Palais in Munich.
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Provenance : Prince Carl Theodor of Bavaria, ‘Gelber Saal’, Prinz Karl Palais, Munich, Countess Almeida, Schloß Mondsee Count Almeida

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Literature :Hantschmann, Katharina, Nymphenburger Porzellan 1797-1847, München/Berlin 1996, p. 182, Mod. 436; Ziffer, Alfred, Nymphenburger Porzellan. Sammlung Bäuml, Stuttgart/Arnoldsche, 1977, p. 314;Koch, Michael, Ludwig Schwanthalers Marmorskulptur des leidenden Philoktet für das Prinz Karl-Plais in München, Sonderdruck Münchner Jahrbuch der bildenden Kunst, Dritte Folge, Vol. LII, 2001, p. 189 und add. 26f
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PROVENANCE: Private collection (SDK)

Empire Vase by the Royal Berlin Porcelain Manufactory signed on the base with the initials K.P.M

by the Royal Berlin Porcelain Manufactory signed on the base with the initials K.P.M.
view of Potsdam attributed to Eduard Wilhelm Forst
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A superb and rare Classical gilt bronze mounted gilt and polychrome painted porcelain Medici vase made by the Royal Berlin Porcelain Manufactory signed on the base with the initials K.P.M. below a crown, with gilded rim and gilt biscuit acanthus leaf border above an extremely fine panoramic view of Potsdam attributed to Eduard Wilhelm Forst within a painted rosette border, with scrolled stiff leaf gilt bronze handles, the gilt painted lower body painted en grisaille with classical grotesque decoration depicting at centre a flower-filled head of a maiden amid further flowers and foliage, on a red and green striped foot bordered above and below by stiff leaf gilded bands on a square gilt base with polychrome scale pattern border Berlin, date circa 1838 Height 76 cm, width 65 cm. Literature: Winfried Baer, “Der Einfluss der Antike auf das Erscheinungsbild der Berliner Porzellanmanufakturen”, in W. Arenhövel (ed.) “Berlin und die Antike”, exhibition catalogue, Deutsches Archäologisches Institut and Staatliche Museum Preussischer Kulterbesitz, Berlin, Schloss Charlottenburg, Gosse Orangerie, 22nd April – 22nd July 1979, illustrating and describing an identically styled Berlin Medici Krater vase featuring a panorama of Berlin, housed at Schloss Glücksburg. Brigitte Klesse, “Berliner Veduten-Porzellane in Köln”, in “Keramos”, no. 150, 1995, pp. 53-85, illustrating and describing a slightly later but identically styled Berlin Medici Krater vase housed in the Museum für Angewandte Kunst in Cologne. The form of this vase is one of the rarest made by the Royal Berlin Porcelain Manufactory or Konigliche-Porzellan-Manufaktur (K.P.M). It was known as a Riesen’sche Sorte, so named after Johann Karl Friedrich Riese who worked as the modellmeister at K.P.M. from1789 to 1835. Not only is its form almost unique but it was also one of the Berlin factory’s largest Medici Krater vases. Only six others are known.

An important Topographical Vase with a Panoramic View of Potsdam by Eduard Wilhelm Forst

An important Topographical Vase with a Panoramic View of Potsdam
by Eduard Wilhelm Forst
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WORK DATE: 1838
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CATEGORY: Ceramics
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MARKINGS: Sceptre mark in underglaze-blue and red printed orb and KPM, black initials, E.F., for the painter Eduard Wilhelm Forst.
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SIZE: h: 77 cm / h: 30.3 in
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REGION: German, GALLERY: +49-(0)89-28 06 40
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DESCRIPTION: Berlin, KPM, circa 1838The body of this so called Kratervase, also known as the Vase Medicis or Rheden'sche Sorte, is finely painted with a panoramic view of Potsdam as seen from the Babelsberg by Eduard Wilhelm Forst, since 1823 in the 'Landscape painter corps of the KPM.' Below a gilt biscuit stiff leaf border under the rim, the lower body painted en grisaille with a classical grotesque decoration on a gilt ground and set with two finely modeled divided gilt biscuit acanthus scroll handles, all raised on a red and green striped foot and square gilt base edged with a colorful scale pattern border.The form of this vase is one of the rarest produced by the Berlin factory. Only five others are known:A pair in the Kunstsammlungen zu Weimar - one with a panorama of Berlin and the other with a panorama of Potsdam apparently identical to the present vase; a single Vase in Schloss Glücksburg (residence of the Dukes of Schleswig-Holstein); a single vase of later date (1845) and with framed rather than panoramic views in the Museum für Angewandte Kunst in Cologne; a single vase in a London private collection with the same panoramic view seen from the other side i.e. from the hill behind the 'Marmor Palais.'
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LITERATURE: Baer, Winfried, Der Einfluβ de Antike auf das Erscheinungsbild der Berliner Porzellanmanufakturn. In:Berlin und die Antike, Exhibition Catalog, ed. W. Arenhövel, Deutsches Archäologisches Institut und Staatliche Mussen Preussicher Kulturbesitz, Berlin, 1979Lesse, Brigitte, Berliner Veduten-Porzellane in Köln. In: Keramos 150, 1995, p. 53-85, fig. 1a-c.Kat. Exhib., Carl Daniel Freydanck 1811-1887, Staatliche Schlösser und Gärten Berlin in Schloβ Charlottenburg, Berlin 1987, p. 39, Add. 56.

Emire Clock case representing Phaeton’s flight in the sun’s chariot across the heavens

Emire Clock case representing Phaeton’s flight in the sun’s
chariot across the heavens by Pierre-Philippe Thomire
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DETAIL: Emire Clock case representing Phaeton’s flight in the sun’s
chariot across the heavens by Pierre-Philippe Thomire
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A very important Empire gilt and part-patinated bronze and rouge marble chariot clock of eight day duration, housed in a magnificent case representing Phaeton’s flight in the sun’s chariot across the heavens by the pre-eminent bronzier Pierre-Philippe Thomire. The dial formed as the chariot wheel with outer blue painted dial ring with gilded Arabic hour numerals and six inner gilded wheel spokes interspersed with palmettes and a fine pair of pierced blued steel hands for the hours and minutes. The movement with anchor escapement, silk thread suspension, striking on the hour and half hour on a single bell, with outside count wheel. The elaborately decorated chariot with ribbon-tied swags on the front, with a pair of griffins, a quiver and harp at the rear, with Phaeton standing, wearing a billowing cloak and driving four frenzied horses across the arch of Heaven. The arch, mounted with figures of Pisces, Aries, Taurus and Aquarius, hung with billowing clouds and resting on a stepped rectangular rouge marble base mounted by a gilt frieze representing the eastern sun god Mithras slaying the primeval bull, flanked by a pair of half-moons and stars, on lion paw feet Paris, date circa 1805-10 Height 67 cm, width 72 cm, depth 25 cm.

Rare pair of 18th Century Roman Busts Depicting Lucius Verus and Roman Emperor Septimus Severus

Rare pair of 18th Century Roman Busts
Depicting Lucius Verus and Roman Emperor Septimus Severus
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PROVENANCE: Private collection (SDK)

Pair of Empire gilt and patinated bronze statuettes of ‘The Crouching Aphrodite’

Pair of Empire gilt and patinated bronze statuettes of
‘The Crouching Aphrodite’ & ‘L’Amour Prenant un Papillon’
after Antoine-Denis Chaudet
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PROVENANCE: Private collection (SDK) by Daguerre

19th Century Empire Secretaire by Sachman


Period : Belgium, Empire Cabinetmaker : Sachman An identical secretaire is in the Soestdijk Palace, the residence of Prince Frederik of Orange (1792-1849), the future William II. This secretaire used to be in the salon of Anna Paulowna. Literature : A Historical View of the Royal Palace of Soestdijk, Zutphen, 1987.
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Height : 6 ft 2 in. Width : 3 ft 2 in. Depth : 14 3/4 in.
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PROVENANCE: Private collection (SDK)

early 19th Century Empire Clock attributed to Pierre-Philippe Thomire

early 19th Century époque Empire Clock
of monumental size attributed to Pierre-Philippe Thomire
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PROVENANCE: Private collection (SDK)

18th Century Armchair inspired by Antiquity


Armchair inspired by Antiquity, with a high, semi-circular back in mahogany and mahogany veneer. The armrests are supported by two winged sphinxes and rest on a rectangular base ending in wheels.
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Period: End of the 18th century Origin: Former Jean Bloch collection, sale in Paris at the Palais Galliera, 13 June 1961, Lot 108. Bibliography: An armchair of the same model can be seen in the painting by David entitled “Lictors Bringing Back to Brutus the Bodies of his Sons”. Exhibition: This armchair was part of the exhibition on “French Chairs”, held in June-July 1947, n° 186.
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Height: 4 feet 2 3/8 inches Width: 2 feet 2 inches Depth: 22 7/8 inches
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PROVENANCE: Private collection (SDK)

First half 19th Century Colossal bust of Antonia Augusta, Mother of the Emperor Claudius

First half 19th Century, Colossal
Bust of Antonia Augusta
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inscribed: FREDERICO/BARONI DE SAYE & SELE/IN SUMMA PARITER FELICITATE/ET IN ACERBISSIMO DOLORE/SEMPER VERE FRATRI/ E. T./ A.D. 1864
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White marble, on a grey, red and cream marble base (in three parts) (4) Bust: 153cm., 60" Din. (Base: 215cm., 84" in. not the one presented on picture)
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Former Provenance: Frederik Twistleton, later Fiennes 16th Lord Saye (1799-1887). The bust is known to have been at Broughton Castle since 1864. The 4th century A.D. colossal bust, now in the Museo Nazionale Rome, is now thought to be an idealised portrait of Antonia Augusta, the mother of the Emperor Claudius rather than Juno as it was originally named. It is interesting to note that a plaster version of this bust is represented in Goethe's house in Weimar where it is documented that Goethe first saw the Ancient Antique bust in Rome on his Italian journeys in the late 1780's. A number of sculptors, followers of Canova and Bartolini, were working on after the Antiquities marbles in Italy. These include Giovanni Battista Comolli who sculpted for much of his life works on a monumental scale. The happiness (felicitate) and sorrow (dolore) inscribed on the plinth can be explained by the family history of the original owner. Frederik Twistleton, Lord Saye and Sele and his brother Edward (E.T.), both lost their wives when young. Frederik married in 1827, Emily, daughter of Lord Powerscourt who died in 1837 in childbirth, leaving him with seven children under ten. Edward Twistleton married in 1852 at the age of forty-four Ellen Dwight, daughter of Edward Dwight of Boston, who died childless in 1862, aged of thirty-one. Related literature: F. Haskell & N. Penny, Taste and the Antique, Yale U. P., 1981
... Wed, 05 Jul 00 10:30 AM - Sale: L00519 Location: London, New Bond Street
PROVENANCE: Private collection (SDK)

Saturday, March 8, 2008

Important Paire of French Empire Candelabras by Gérard-Jean Galle

Important Paire of French Empire Candelabras
by Gérard-Jean Galle
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PROVENANCE: Private collection (SDK)

Sunday, March 2, 2008

17th Century Marble and Alabaster Bust of Roman Emperor Hadrian

17th Century Marble and Alabaster Bust of
Roman Emperor Hadrian
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PROVENANCE: Private collection (SDK)

Thursday, November 8, 2007

Console Table with the "Cupid and Psyche" Mantle Clock, circa 1799

Console Table with the "Cupid and Psyche" Mantle Clock , 1799 France
Pierre-Philippe Thomire
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Console Table with the "Cupid and Psyche" Mantle Clock Thomire, Pierre-Philippe. France. Paris. 1799 Mahogany, bronze and green veined marble; carved and gilded. 100x202x61 cm Source of Entry: Mikhailovsky Palace, St Petersburg (purchased in Paris for the Throne Hall). 1804
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Friday, October 26, 2007

PAIR OF ORMOLU, PATINATED BRONZE AND MARBLE SIX-LIGHT CANDELABRA, CIRCA 1800, ROME, ATTRIBUTED TO FRANCESCO RIGHETTI

PAIR OF ORMOLU, PATINATED BRONZE AND MARBLE SIX-LIGHT
CANDELABRACIRCA 1800, ROME, attrib. TO FRANCESCO RIGHETTI
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MEASUREMENTS
measurementsheight 32 in.; width 12 1/4 in.
alternate measurements81 cm; 31 cm
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LITERATURE AND REFERENCES
The patinated bronze female figures on this pair of candelabra are identical to those found on a pair signed by Righetti and dated 1790, illustrated in Alvar González-Palacios, Il Tempio del Gusto, Roma e il Regno delle Due Sicilie, Vol. II, Milan, 1984, fig. 266. Righetti established his workshop in Rome in the 1780s where he produced a variety of bronzes which included his own original models and copies after the Antique. He was joined by his son Luigi and developed close ties with Charles Heathcote Tatham, the architect who was Henry Holland's agent in Rome. In 1805 he succeeded Valadier as head of the Fonderia Vaticana. The female figures are repeated on a candelabrum executed circa 1801-1802 for San Giorgio Maggiore in Venice, illustrated, González-Palacios, Il Tempio dei Principe, Vol. II, p. 262, pl. 525.
...
PROVENANCE: Private collection (SDK)
(Formerly sold at Sotheby's, London, June 15, 1990, lot 132,)