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
..
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
....
MEASUREMENTS
measurementsheight 32 in.; width 12 1/4 in.
alternate measurements81 cm; 31 cm
..
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,)

EMPIRE ORMOLU-MOUNTED MAHOGANY GUÉRIDON, CIRCA 1815

EMPIRE ORMOLU-MOUNTED MAHOGANY GUÉRIDON CIRCA 1815,
THE ORMOLU INSCRIBED FEUCHÈRE
.....
MEASUREMENTS
measurementsheight 31 in.; diameter 43 1/2 in.
alternate measurements 78.5 cm; 110.5 cm
..
DESCRIPTION
with a circular Swedish green porphyry top, the frieze with an ormolu border incorporating a bacchic feast; the ormolu tazza inscribed beneath the rim FEUCHERE D'APRES LE DESSIN DE MR HUVÉE.
...
PROVENANCE
By repute, the collections of the duc de La Rochefoucauld Doudeauville, in the château de la Vallée au Loup
Collection of the dukes of La Rochefoucauld DoudeauvilleSold Poulain Le Fur, Paris, June 22, 2000, lot 126
....
LITERATURE AND REFERENCES
C. Huchet de Quénetain, Les Styles Consulat et Empire, Paris, 2005, p. 124, fig. 91. At the time of the June 2000 sale, the guéridon was said to have come from the house of the celebrated author François-René de Châteaubriant at Chatenay Malabry in the Vallée au loup. The guéridon does not appear in any of the documentation concerning the purchase of the house in 1807 and Châteaubriant's sale in 1818 to the duc de Montmorency or in the inventory of 1826 following the latter's death. In fact the three inventories of the house list more simple country furnishings. Most probably the nephew of the duc de Montmorency commissioned this guéridon. Louis François Sosthène de La Rochefoucauld Doudeauville 1785-1864 married in 1807 Elisabeth, the only daughter of the duc de Montmorency-Laval. It is even more important to note that the duc de La Rochefoucauld Doudeauville was the witness at the wedding of Jean Jacques Huvé in 1815. The architect Jean-Jacques Huvé 1783-1852, was the son of the architect of the same name who won the Grand Prix de Rome in 1770 and was mayor of Versailles. Jean Jacques Huvé joined the Percier firm in 1805. Admitted at the Ecole des Beaux Arts, the architect was, under the direction of Vignon, commissioned to finish the construction of the church of the Madeleine. In 1821, Louis XVIII commissioned him to build the château de Saint-Ouen, which became the favorite residence of his mistress, Madame du Cayla. Laden with honors, he died in 1852. The bronzier Lucien-François Feuchère was known to have worked with his father Pierre François before the Revolution. His workshops in the rue Notre-Dame-de-Nazareth had more than 150 artisans and provided many pieces for the Garde-Meuble Impérial. He received a silver medal at the Exposition de l'Industrie in 1819 for his bronze works. He retired in 1824 and left his workshop to his son Armand and his son-in-law Fossey.
....
A guéridon in the Palacio Real in Madrid is fitted with an identical bacchic frieze, certainly supplied by Feuchère, see, F. Chueca Goita, El Palacio Real de Madrid, Madrid, 1998, p. 125.
.. Sold. Hammer Price with Buyer's Premium: 645,800 USD - LOT 648
PROVENANCE: Private collection (SDK)

RARE DIRECTOIRE ORMOLU 'PENDULE D'ENFILADE' SIGNED KLESSER A TROYES

RARE DIRECTOIRE ORMOLU 'PENDULE D'ENFILADE'
SIGNED KLESSER A TROYES
.
MEASUREMENTS
measurementsheight 59 1/2 in.; width 23 in.
alternate measurements150.5 cm; 58 cm

..
DESCRIPTION
with ormolu and blued steel compensation pendulum, with dials at the front and back, one with hours and minutes inscribed Klesser a Troyes, the other side with date and month rings and seconds hand.

..
PROVENANCE: Private collection SDK, Sold. Hammer Price with Buyer's Premium: 169,000 USD/LOT 699

(Formerly in the Inventory of Frederick P. Victoria & Son, sold, Christie's, New York, May 27, 1999, lot 103 )

Saturday, September 8, 2007

Dressing Table , Circa 1817 - Workshop of Martin Guillaume Biennais France

Dressing Table Workshop of Martin Guillaume Biennais France.
Paris. Circa 1817
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Amboina wood, bronze and smalt; carved and gilded. 190x119x73 cm
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Source of Entry: First Branch of the State Hermitage Museum (former Museum of the Stieglitz School). 1933

Console Table Decorated with the "Gods of Olympus" Relief , Late 18th century

Console Table Decorated with the "Gods of Olympus" Relief France.
Paris. Late 18th century
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Mahogany, bronze and green marble; carved, gilded and patinated. 96x162x51 cm Source of Entry: Mikhailovsky Palace, St Petersburg (purchased in Paris for the Throne Hall). 1804

Twin Console Tables Decorated with the "Honouring of Virgil" Relief , Early 19th century

Twin Console Tables Decorated with the "Honouring of Virgil" Relief France.
Paris. Early 19th century
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Mahogany, bronze and yellow and pink marble; carved, gilded and patinated. 96x137x55 cm Source of Entry: State Museum Fund. 1920s

Mahogany console table with gilded and patinated bronze fittings

Mahogany console table with gilded and patinated bronze fittings
Early 19th century
Attributed Pierre Philippe Thomire
Paris
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This console with a marble table-top strikingly decorated with bronze is a splendid example of Empire furniture. Applied to the superb mahogany veneer are bronze fittings with motifs typical of the ornamental decoration of the period — palmettes and stylized lilies. The centre of the underpart is accentuated by a bronze plaque bearing a relief of The Coronation of Virgil. It is a copy of a Wedgwood plaque created from a 1785 model by John Flaxman. At the edges of the underpart are plaques of Mars and Venus. The legs or supports of the table are herms with winged female half-figures in Egyptian-style dresses. Console tables of various shapes were produced in large numbers during the Empire period and placed along the walls in interiors.
Round Mirror Centerpiece with six candelabra around the edge
Before 1822
Workshop of Pierre-Phillipe Thomire
Paris, France
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This circular mirror centerpiece with six candelabra around the edge and an openwork border of gilded bronze is one of the characteristic works of the famous French bronze-smith Pierre-Philippe Thomire. The striving after ever greater luxury in the decoration of the dining table during the Napoleonic Empire brought into vogue a special type of ornament — the surtout de table — that at times numbered over fifty components. It is held that Thomire was the first to come up with the idea of creating a mirror plateau, surrounded by a border of flat gilded bronze relief , on which candelabra and containers for sweets, confections, fruit and flowers could be placed. The mirror reflected light and imparted a special gleam to the gilded bronze. Vases, bowls, cachepots and candelabra were supported by figures of dancing nymphs and bacchantes, cupids, allegorical figures of the seasons and young victors in laurel wreaths. They were combined in symmetrical groups and created a bright conglomeration in the centre of the table that sometimes extended fully ten metres in length. Surtouts de table were specially ordered, the customer selecting the character of the ancient groups with a border of a particular design, creating thematic ensembles.

A pair of Empire ormolu bases now mounted with rock crystal as table lamps

A pair of Empire ormolu bases now mounted with rock crystal as table lamps
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Fine French & Continental Furniture Including European Works of Art and Tapestries, Ceramics and Carpets
..
Sale: N08348 Location: New York

Auction Dates: Session 1: Wed, 03 Oct 07 10:00 AM
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LOT 134

A PAIR OF EMPIRE ORMOLU BASES NOW MOUNTED WITH ROCK CRYSTAL AS TABLE LAMPS 15,000—25,000 USD

MEASUREMENTS
measurementsoverall height 33 in.; lamp height 20 3/4 in.
alternate measurements84 cm; 53 cm
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DESCRIPTION
the ormolu base after a model by Thomire.

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CATALOGUE NOTE
Identical ormolu bases stamped Thomire formed part of a pair of tazze in the Hilbert Collection, sold, Sotheby's, New York, May 24, 2007, lot 23.

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Wednesday, August 8, 2007

ANANTIQUE FRENCH EMPIRE PERIOD COMMODE

AN ANTIQUE FRENCH EMPIRE PERIOD COMMODE
attributed to Joseph-Marie BENARD - Paris, circa 1820
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Detail - AN ANTIQUE FRENCH EMPIRE PERIOD COMMODE
attributed to Joseph-Marie BENARD - Paris, circa 1820

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FRENCH EMPIRE PERIOD COMMODE attributed to Joseph-Marie BENARD - Paris, circa 1820 A French Empire period commode, attributed to Joseph-Marie BENARD, of burr-elm and amaranth with ormolu mounts, the rectangular “rouge griotte” marble top with eared corners above a conforming frieze mounted with the Greek key design and centred by a mask of Tragedy and flanked by profile masks of Comedy, each mask mounted on an amaranth ground and enclosed by a square frame, the frame to each mask of Comedy hinged as a handle, the frieze concealing a drawer, above two doors mounted with concentric rectangular stepped purplewood mouldings centred by an ormolu rectangle filled with an ormolu lozenge flanked by anthemions and centred by a mount of Galatea riding an hippocampus on purplewood ground, the doors opening to reveal three slides, the angles each set with an ormolu monopodium, the whole resting on a stepped and conforming plinth base.
..
Height 36in (91cm). Width 55in (140cm). Depth 23 1/2in (60cm). - Reference: J6392
Jeremy Ltd

Tuesday, August 7, 2007

Bust of Minerva (finial of a banner) , 1st century

Bust of Minerva
(finial of a banner) Ancient Rome,
1st century
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Cornelian and bronze (new pedestal); carved. H. 5 cm Source of Entry: Collection of the Duke of Orleans, Paris. 1787

Bust of Athena, Italy. Late 16th - early 17th century

Bust of Athena
Italy. Late 16th - early 17th century
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Fine-grained marble and eastern alabaster (bust). H. 39 cm Source of Entry: Palace of Taurida, St Petersburg (formerly in the collection of John Lyde-Brown, London, acquired by Catherine II, 1787). 1859

18th Century Busts Depicting Roman Emperors: Vespasian, Julius, Germanicus, Hadrian

18th Century set of four Busts of Roman Emperors
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Depicting: left to right
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- Titus Flavius Sabinus Vespasianus
- Gaius Julius Caesar
- Tiberius Claudius Drusus Nero Germanicus
- Publius Aelius Traianus Hadrianus
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PROVENANCE: Private collection (SDK)

19th Century Bronze Bust of Roman Emperor Nero

19th Century Bronze Bust of Roman Emperor Nero
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PROVENANCE: Private collection (SDK) sold by Hampel

PAIRE DE BUSTES D'EMPEREURS ROMAINS, FIN XVIIE SIÈCLE/ DÉBUT XVIIIE SIÈCLE

PAIRE DE BUSTES D'EMPEREURS ROMAINS,
FIN XVIIE SIÈCLE/ DÉBUT XVIIIE SIÈCLE
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Late 17th /Early 18th Century Pair of Bronze Busts
of Roman Emperor Gaius Julius Caesar and
.....
MEASUREMENTS
measurementshaut. 24 cm et 25 cm
alternate measurementsheight 9 1/2 in and 9 3/4 in

Sale: PF8002 Location: Paris, Auction Dates: Session 1: Wed, 09 Apr 08 2:30 PM, LOT 62, 7,690
PROVENANCE: Private collection (SDK)

18th Century Bronze Busts depicting Emperor Galba and Emperor Vitellius

18th Century Bronze Busts
depicting Emperor Galba and Emperor Vitellius
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PROVENANCE: Private collection (SDK) sold by Christies 14th of December 2006

Vincenzo Gemito Italian, 1852-1929, A relief of Alexander the Great and a small bust of Medusa

Vincenzo Gemito Italian, 1852-1929,
A relief of Alexander the Great and a small bust of Medusa
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Sale L07230 - Session 1 - 28 Jun 07 - 10:30 AM - London
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LOT 171 OTHER PROPERTIES VINCENZO GEMITOITALIAN, 1852-1929 A RELIEF OF ALEXANDER THE GREAT AND A SMALL BUST OF MEDUSA 4,000—6,000 GBPLot Sold. Hammer Price with Buyer's Premium: 4,800 GBP .
MEASUREMENTS
relief in frame: 21 by 20.3cm., 8¼ by 8in. bust: 17cm., 6 5/8 in.

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DESCRIPTION
the relief signed: GEMITO, stamped: FONDERIA GEMITO NAPOLI ; the bust signed: V GEMITO
relief: bronze, light brown patina, in wood frame; bust: dark brown patina (2)

SUITE OF 4 ALABASTER BUSTS, Baroque, Rome 18th century

#1004 Suite of 4 Alabaster Busts
Baroque, Rome 18th century Later wooden pillars. Repairs.
...
H. ca. 36 cm.
Provenance: Castle collection, West Switzerland.
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Furniture
Galerie Koller Zurich
23.09.2004 - 11. - 18.09.2004 .............Estimate: 6.000 to 10.000 SFR3.900 to 6.500 EURO

Monday, August 6, 2007

BUSTE D'EMPEREUR ROMAIN EN BRONZE, XVIIE SIÈCLE

BUSTE D'EMPEREUR ROMAIN EN BRONZE,
XVIIE SIÈCLE..
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A 17th Century Bronze Bust of a Roman Emperor, on a red simulated
marble base and a square woodensocle..
...
MEASUREMENTS
haut (bronze) 36 cm; haut. totale 58 cm
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Alternate measurements
height (bronze) 14 in ; overall height 22 3/4 in
Sale: PF8002 Location: Paris , Auction Dates: Session 1: Wed, 09 Apr 08 2:30 PM, Lot 60, 6,850 EUR
PROVENANCE: Private collection (SDK)
(Collection M. Henri Samuel, Monaco) sa vente Christie's Monaco, 15 décembre 1996, lot 17.

Buste d'Empereur Romain en bronze, XVIIe siècle

BUSTE D'EMPEREUR ROMAIN EN BRONZE,
XVIIE SIÈCLE
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A 17th Century Bronze Bust of a Roman Emperor, on a red simulated
marble base and a square woodensocle
..
MEASUREMENTS
haut. (bronze) 35 cm; haut. totale 57 cm
...
Alternate measurements height
height 31 3/4 in; total height 22 1/2 in
Sale: PF8002 Location: Paris , Auction Dates: Session 1: Wed, 09 Apr 08 2:30 PM, Lot 60, 6,850 EUR
PROVENANCE: Private collection (SDK) sa vente Christie's Monaco, 15 décembre 1996, lot 17

Thursday, August 2, 2007

Decorative Design of the "Music" Mantle Clock, Circa 1805

Decorative Design of the "Music" Mantle Clock, Circa 1805
Attributed to Pierre-Philippe Thomire (workshop)
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Decorative Design of the "Music" Mantle Clock Workshop Thomire, Pierre-Philippe (workshop) Pen, brush, Indian ink and watercolour. 48x27.8 cm France. Circa 1805 Source of Entry: First Branch of the State Hermitage Museum (former Museum of the Stieglitz School). 1926
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EMPIRE CLOCK ""LE GENIE INSPIRE PAR MINERVE"", Empire, the model by C.F. RABIAT (Claude François Rabiat, 1756 Paris 1815)


#1249 "EMPIRE CLOCK ""LE GENIE INSPIRE PAR MINERVE"", Empire, the model by C.F. RABIAT (Claude François Rabiat, 1756 Paris 1815) after models by J.A. BOUILLET (Jacques Antoine Bouillet, died after 1815), the dial inscribed A PARIS, Paris circa 1810.""Matte and polished gilt bronze also burnished bronze. with moulded ""Griotte Rouge"" plinth. Enamel dial, gilt brass movement striking the 1/2 hour on bell, fine bronze mounts and applications. 56x22x75 cm.
....
Provenance: from a Royal Family (Paris collection). Highly important clock, illustrated in: J.D. Augarde / J.N. Ronfort / G. Maugé: Thomire, Galle, Jacob et les autres - Bronze et ameublement sous le Directoire et l'Empire; pub end 2002. Two further identical models are known: one in an important French collection the exhibited in the Foreign Ministry building in Paris. "
....
Estimate: 40.000 to 70.000 SFR

PAAR ATHENIENNES, spätes Empire, nach Vorlagen von C. PERCIER (Charles Percier, 1764-1838) und P. FONTAINE

PAAR ATHENIENNES, spätes Empire,
nach Vorlagen von C. PERCIER (Charles Percier, 1764-1838)
und P. FONTAINE (Pierre F.L. Fontaine, 1762-1853),
..
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*1 PAAR ATHENIENNES, spätes Empire, nach Vorlagen von C. PERCIER (Charles Percier, 1764-1838) und P. FONTAINE (Pierre F.L. Fontaine, 1762-1853), in der Art von JACOB FRERES RUE MESLEE (Zusammenarbeit von George II. und François Honoré Georges Jacob zwischen 1798 und 1803), Paris, 19. Jh. Ulmen-Wurzelmaser gefriest und vergoldete Bronze. Rundes, randprofiliertes Blatt auf gerader Zarge, mit 3 durch feine Palmettengalerie verbundenen, geflügelten Karyatidenstützen mit Schale an 3 feinen Ketten, auf Tatzenfüssen mit eingezogenem Dreisockel. Im Blatt zylindrischer Behälter mit abnehmbarem Deckel. In der Zarge 3 Schubladen mit Springfedermechanismus. D 42 cm, H 100 cm. Provenienz: Aus einer französischen Sammlung. Ausserordentlich seltenes Paar von bestechender Qualität und Eleganz. Auf Tafel 23 des berühmten "Receuil de Décorations intérieures" von Percier und Fontaine aus dem Jahr 1812 ist ein in der Grundstruktur nahezu identisches Guéridon abgebildet und mit folgender Legende versehen: "Petite table de travail enfermant une cassolette exécutée pour Madame Mxxx à Paris" - es handelte sich hierbei um die Gattin des General Moreau. Ein sehr ähnlicher Tisch ist heute Bestand der Sammlungen des Château de Fontainebleau (Inventarnr. F 23c) und soll im Besitz des "premier consul" gewesen sein. Ein Paar analoger Tische befand sich in den Sammlungen des Marquis de Brion und wurde am 9.6.1914 (Katalognr. 382) in Paris verkauft. Ein weiteres Paar wurde am 13.12.1995 (Katalognr. 117)ebenfalls in Paris verkauft und eine nahezu identische Athenienne Christie''s Paris am 24.6.2202 (Katalognr. 223). Ab 1796 legten Pierre F.L. Fontaine und Charles Percier die Formen der tonangebenden Pariser Gesellschaft fest. 1797 richteten sie verschiedene Räume für Napoleon (damals noch General) und Josephine ein. Die Ausbildung absolvierten die beiden Architekten an der "Académie Royale d''Architecture". Ein mehrjähriges Stipendium führte sie nach Rom, wo Percier 1786-1791 mit archäologischer Akribie Bauten und Grotesken-Dekorationen der Antike und Renaissance studierte und zeichnete. Mit Tausenden von Blättern und Skizzen in seiner Mappe und stets mit dem italienischen Seicento beschäftigt kehrte er über Florenz, Mantua und Genua 1791 nach Paris zurück. In den Jahren darauf arbeitete er als Bühnendekorateur für Oper und Schauspiel und stattete vor allem römische Tugendspektakel im antiken Stil aus. Seine Erfolge in diesem Genre verschafften ihm ab 1796 die ersten Aufträge für Innendekorationen bei Financiers, Heereslieferanten, Generälen und Schauspielern, welche die neue Gesellschaft des Directoire bildeten. Nach dem ersten Auftrag von Napoleon wurden Fontaine und Percier 1799 die offiziellen Architekten des Ersten Konsuls Bonaparte. Fontaine hatte unter Kaiser Napoleon die Stelle des ersten Hofarchitekten inne und behielt seinen Posten auch während der kommenden "politischen Wechselbäder". Er fungierte als Chef der Obersten Baubehörde und des Hofbauamtes während der Regierungszeit von Louis XVIII, Charles XX, Louis-Philippe und diente auch noch der Zweiten Republik bis zu seinem Tod 1853. Am 13. April 1796 überschrieb G. Jacob die florierende Firma seinen beiden Söhnen Georges II und François-Honoré-Georges. Die Zusammenarbeit der Gebrüder Jacob war nur von sehr kurzer Dauer und wurde durch den plötzlichen Tod von Georges II beendet. Die Werke der Jacob Frères gehören zu den elegantesten und innovativsten der Jahre um 1800. Die "Légèrte" der Formgebung, die neuen Dekorationen "à l''égyptien" oder "à l''antique", die perfekte Ausführung und die Verwendung von bestem Mahagoni-Furnier waren die Markenzeichen ihrer Arbeit. D. Ledoux-Lebard hält diesbezüglich Folgendes fest: "Ces qualités les classent parmi les plus belles productions de cette maison, et leur relative rareté, vu la brièvite de cette période, ajoute encore à leur intêret." in: Le mobilier français du XIXe siècle, Paris 1989; S. 272-279 und 293f. In den "Expositions des produits de l''industrie française" jener Jahre erhielten die Brüder stets die höchsten Auszeichnungen, obwohl die Konkurrenz aus den bedeutendsten Kunsthandwerkern bestand. Trotz der Konkurrenz arbeiteten sie manchmal zusammen für die Paläste des angehenden Kaisers Napoleon und seine Entourage. Kaiserin Joséphine gab oft "ce qu''il y a de mieux" in Auftrag, und Napoleon erinnerte sich noch während seines Exils auf Sankt Helena mit Entsetzen an die horrende Rechnung der Jacob Frères. Nebst den Bonapartes war Madame de Recamier die wichtigste Kundin des Unternehmens, sie liess eine Vielzahl von Möbeln herstellen, die zu den bedeutendsten der Directoire-Epoche gehören. Lit.: P. Kjellberg, Le mobilier français du XVIIIe siècle, Paris 1989; S. 434 (biogr. Angaben zu Jacob Frères) und S. 863-874 (biogr. Angaben zu Weisweiler). D. Ledoux-Lebard, Le mobilier français du XIXe siècle, Paris 1989; S. 623-626 (biogr. Angaben zu Weisweiler). J. Nicolay, L''art et la manière des maîtres ébénistes français au XVIIIe siècle, Paris 1976; I, S. 475/476 (biogr. Angaben zu Weisweiler). A. Pradère, Die Kunst des französischen Möbels, München o.J.; S. 389-403 (biogr. Angaben zu Weisweiler).
....
Auktion A144 Lot 1324 - 17 März 2008 10:00 - CHF 120 000.- / 180 000.-

PAAR PRUNK-ZIERVASEN "AUX ENFANTS MUSICIENS", Empire, C. GALLE (Claude Galle, Meister 1786)

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*1 PAAR PRUNK-ZIERVASEN "AUX ENFANTS MUSICIENS", Empire, C. GALLE (Claude Galle, Meister 1786) zuzuschreiben, Paris um 1810/15. Bronze vergoldet und "Vert de Mer"-Marmor. Urnenförmiger Gefässkörper mit ausladender Lippe, abnehmbarem Deckel und kanneliertem Rundfuss sowie 2 seitlichen, auf Widderköpfen sitzenden musizierenden Kindern, auf gestuftem Rechtecksockel. Reiche, vergoldete Applikationen und Beschläge in Form tanzender Frauen, Feuerschalen, Palmetten, Kartuschen und Voluten. H 60,5 cm. Provenienz: Aus einer französischen Sammlung. Hochbedeutendes Paar von bestechender Qualität und Eleganz in unberührtem Erhaltungszustand. Gegen Ende der Louis-XVI-Epoche war C. Galle im Atelier seines Schwiegervaters für den "Garde-Meuble de la Couronne" tätig. Auch während der Revolutionszeit gelang es ihm, sein Geschäft mit grossem Erfolg zu führen, indem er in seinen Räumen auch Möbel, Bronzen und Einrichtungsgegenstände anderer Ateliers anbot; im Consulat und Empire verkaufte er dem "Garde-Meuble Impérial" eine beachtliche Anzahl Objekte, vor allem Leuchter und Bronzen für die Neumöbilierung der Paläste von Fontainebleau, Compiègne, Rambouillet und Saint-Cloud. Eine Identifizierung seiner Bronzen ist nicht immer einfach, da er oft Modelle anderer "bronziers" übernahm und mit seinem Namen signierte. Lit.: H. Ottomeyer / P. Pröschel, Vergoldete Bronzen - Die Bronzearbeiten des Spätbarock und Klassizismus, München 1986; II, S. 704-709 (biogr. Angaben).
......
Auktion A144 Lot 1327 - 17 März 2008 10:00 ....... CHF 60 000.- / 100 000.-

Thursday, July 19, 2007

19th Century Miniature alabaster Bust of Lucius Verus

19th Century Miniature alabaster Bust of Lucius Verus
..
MEASUREMENTS
h.26.5cm.
....
DESCRIPTION
Material: Alabaster
Sale: W07810 Location: London, Olympia - Auction Dates: Session 1: Thu, 19 Jul 07 10:30 AM - LOT 178, 5,040 GBP
PROVENANCE: Private collection (SDK)

Friday, July 6, 2007

19th Century, Large White and Onyx Marble bust of Emperor Caracalla

19th Century, Large White and Onyx Marble
bust of Emperor Caracalla
...
MEASUREMENTS
measurements note
83cm., 32¾in.
Sale: L07231 Location: London, New Bond Street Auction Dates: Session 1: Fri, 06 Jul 07 10:30 AM, LOT 144 11,400 GBP
PROVENANCE: Private collection (SDK)

Sunday, May 27, 2007

The Susse Frères Black Softwood Box (1839), update

First Camera Makes $775,000
The Susse Frères Black Softwood Box (1839)
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Mike O'Donoghue writes to tell us that "the Susse Frères black softwood box (1839) went for 480,000€ Saturday at the Westlicht auction here in Vienna. That makes 576,000€ [about $775,000 or £390,400] with fees."

Friday, May 25, 2007

The Legendary 1839 Susse Frères

The Legendary 1839 Susse Frères
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On Saturday, May 26th, the Vienna auction house WestLicht will auction what will very likely become the world's most valuable camera. For most of photography's history, the oldest commercially produced cameras were thought to be those manufactured by Daguerre's brother-in-law Alphonse Giroux, of which some ten survive. But behind the Giroux was a mystery: it was known that a sliding-box Daguerreotype camera had been advertised by a Paris firm called Susse Frères a mere ten days before the first announcement of the Giroux. No examples were known, and for many years it was doubted that any had ever existed.



Lens Detail
.
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Until, that is, one turned up recently in Germany. The camera to be auctioned by WestLicht is essentially an "attic find." "It was originally owned by Prof. Max Seddig (1877–1963)," reads the auction description, "who was the director of the Institute of Applied Physics in Frankfurt am Main and, among other things, godfather to the founding of the Josef Schneider Optical Works in Kreuznach. Seddig gave the camera to his assistant, Günter Haase, as a present. The latter was later Professor at the Department of Scientific Photography at the University of Frankfurt and, from 1970 on, occupied the Chair for Scientific Photography at the Technical University of Munich. Prof. Günter Haase died on February 20th 2006 at the age of 88 and left the camera to his son, Prof. Wolfgang Haase."Numerous experts attest that it is very likely the oldest commercially-produced camera in the world."Previously, the world's most valuable camera was believed to be the surviving Ur-Leica of Oskar Barnack, owned by Leica AG, of Solms, Germany, although it has never been sold. Opening bid for the legendary Susse Frères will be 100,000 Euros, and the selling price is believed likely to exceed half a million Euros.

by: MIKE JOHNSTON, with thanks to Frames, the CameraArts newsletter

Friday, May 18, 2007

Tête de Saint-Jean Baptiste, modèle au plateau, version de face by Auguste Rodin

Tête de Saint-Jean Baptiste, modèle au plateau, version de face

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Gallery: Robert Bowman Gallery

Tête de Saint-Jean Baptiste, modèle au plateau, version de face Bronze
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Height 7 inches (17.8 cm)
Signed A.Rodin and inscribed with the foundry mark A.Rudier. Fondeur. Paris.
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Conceived circa 1887; this bronze version was cast circa 1930. The work was cast in an unknown edition size, firstly by Francois Rudier, then Alexis Rudier and finally four casts were cast by Georges Rudier for the Musée Rodin between 1965 and 1974.

Rodin created his life-size figure of St. John the Baptist preaching in 1878. He returned to the subject of St. John almost ten years later in 1887. This time he dealt with the end of the saint?s life, the moment when Salome, tutored by her mother, has requested the head of St. John on a platter, from King Herod as a reward for her erotic dancing. The subject was a popular one at the time with variations on the theme being produced by Antokolski in 1879 and Carriés in 1881.

Rodin made two versions of the subject, the first showing the severed head on its side resting on a large platter, the second with the head resting on its back. The present example is of the second type which can also be seen at the top of the Gates of Hell. Versions of the work were also carved in marble and exhibited at the Monet-Rodin Exhibition in 1889 and the Exposition Rodin in 1900.

To be included in the forthcoming Catalogue critique de L’Oeuvre sculpté d’Auguste Rodin being prepared by the Comité Rodin under archive no. 2004V517B.
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Provenance
Frances Leventritt, New York
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Literature
John L Tancock, The Sculpture of Auguste Rodin, Philadelphia Museum of Art, 1976, pp.205-207 illustration 21-3, 21-4Dominique Jarrasse, Rodin, A Passion for Movement, Editions Pierre Terrail, 1992, illustrated p.45

Pendule en bronze de RAVRIO, époque Empire

Pendule en bronze de RAVRIO, époque Empire

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Dealer: Galerie Antoni


A set of portable jockey scales by W&T Avery ( 1870 )

A set of portable jockey scales by W&T Avery ( 1870 )

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Dealer: Ronald Phillips Ltd


Dimensions: 213.50cm wide 259.00cm high 104.00cm deep (84.06 inches wide 101.97 inches high 40.94 inches deep)


Description / Expertise: An impressive set of late 19th century brass jockey scales, the central four- legged ‘A’ frame with a central arm suspending a faded green leather upholstered oak seat counter balanced by a suspended platform for weights, together with the complete set of iron weights. Stamped ‘W&T Avery, Birmingham’.

The firm of W & T Avery has a long and illustrious history associated with Birmingham and the Industrial Revolution. The firm was founded by the partnership of two brothers, William and Thomas Avery, in 1813 specialising in the manufacture of weighing scales and machines, a vital instrument in Britain’s explosive rise in domestic and international commercial dominance in the 19th century. The firm soon established themselves as market leaders and in 1895 bought James Watt & Co occupying the legendary site of the famous Soho Foundry, founded by Matthew Boulton (1728 - 1809) and James Watt (1736 - 1819), where the famous purpose built steam engines were made. The range of their machines ranged from high precision weighing scales for medical purposes to this huge example suitable for weighing jockeys to calculate their horse’s handicap before a race. From the late 19th century the firm was described as the finest weighing machine factory of the world and continued to diversify and prosper under the able managing director William Hipkins who was to perish aboard the Titanic in 1912. The firm continues at its original site and, now under the American ownership of Weigh Tronic, still ranks as a world leader in its field. Avery made other jockey scales but these are the most elaborate as well as being portable so they could be taken from racecourse to racecourse. They are accompanied by the original set of weights ranging from 8oz to 56lbs. The accuracy of these scales is extraordinary and is emphasised by the small hanging receptacle positioned above the weights that would finally be filled with buckshot to measure his precise weight to the last fraction of an ounce. We are grateful to Mr John Doran, museum curator of Avery Weight-Tronix, for the additional information in cataloguing this piece and to Mr Frankie Dettori for kindly testing it for us!

Thursday, May 3, 2007

The Collection of Mr. and Mrs. Stephen C. Hilbert: Important French and English Furniture

Sale Title The Collection of Mr. and Mrs. Stephen C. Hilbert: Important French and English Furniture
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Location New York, Rockefeller Plaza - Sale Date SESSION 1 24 May 07 10:00 AM.
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Lot Number 29 - Sale Number N08383
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AN IMPORTANT LOUIS XVI ORMOLU-MOUNTED TULIPWOOD AND MARQUETRY COMMODE A VANTAUX CIRCA 1770, STAMPED M. CARLIN, RETAILED BY SIMON-PHILIPPE POIRIER
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700,000—1,000,000 USD
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MEASUREMENTS
measurementsheight 35 3/4 in.; width 57 in.; depth 21 in.
alternate measurements90.5 cm; 145 cm; 53.5 cm

DESCRIPTION
with a red Verona marble top, the frieze with three drawers and mounted all around with ormolu guilloche enclosing flowerheads, the case with three cupboard doors veneered with panels of trellis marquetry enclosing flowerheads on a sycamore ground surrounded by leaf-chased ormolu borders, the interior fitted with drawers; the canted corners surmounted by rosettes above a draped ormolu torso, the apron centered by an ormolu bearded mask flanked by acanthus leaves, raised on ormolu-mounted tapered feet.
Bearing the ink inscription: Poirier Md Rue St Honore a Paris
Martin Carlin, maitre in 1766Simon-Philippe Poirier, fl. 1742-1777

PROVENANCE
Probably acquired by David, 7th Viscount Stormont (later 2nd Earl of Mansfield), in Paris, c. 1772.
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The Earls of Mansfield and Mansfield, Scone Palace, sold, Sotheby's, London, December 8, 1967, lot 142
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Collection of Georges Wildenstein, New York
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Collection of Akram Ojjeh, sold, Sotheby's, Monaco, June 25-26, 1979, lot 50
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Sir Charles Clore, sold, Christie's, Monaco, December 6, 1985, lot 54
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Partridge Fine Arts, London
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EXHIBITED
Royal Scottish Museum, Edinburgh, 1965-67
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LITERATURE AND REFERENCES
A. Coleridge, "Furniture in the Collection of the Earl of Mansfield," The Connoisseur, May 11, 1966, p. 15, illustrated, fig. 20 A. Pradère, French Furniture Makers, Paris, k 1989, p. 350, illustrated
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CATALOGUE NOTE
David Murray, seventh Viscount Stormont and second earl of Mansfield (1727–1796). Stormont served as Ambassador in Vienna from 1763, and by the time of his appointment as Ambassador in Paris in 1772, he had become an important adviser to ministers and was a political confidant of George III. This was a period of deteriorating relations between France and England, and it fell to Stormont to preside over the diplomacy which ultimately led to a declaration of war in 1778. He was created Earl of Mansfield on the death of his uncle, William Murray, 1st Earl of Mansfield PC (b.1705). The 1st Earl was himself a collector and patron of the arts, he is particularly remembered as a patron of Robert Adam's at Kenwood; he also had a celebrated library in his London residence in Bloomsbury Square, which was destroyed during the Gordon riots in 1780. The 1st Earl spent the summer of 1774 in the Embassy in Paris, as his nephew's guest, and it has been suggested that it was at this time that the nucleus of the Mansfield collection of French furniture might have been formed (Coleridge, op. cit. p. 239).Martin Carlin (c.1730-1785) was one of the celebrated group of Parisian ébénistes who were of German origin. Little is known of his early life or apprenticeship, but his marriage in 1759 to Jean-Francois Oeben's sister, establishes that he was settled in Paris and in the company of other German and Flemish craftsmen. Both Oeben and Roger Vandercruse were witnesses to his marriage. Established as an independent craftsman by 1763, Carlin started to supply furniture to Simon-Philippe Poirier. In 1766 Carlin became a master ébéniste and continued to fulfill Poirier's numerous commissions, most notably for furniture to be fitted with porcelain plaques. Between 1766 and 1778 approximately one-third of his production consisted of commissions from Poirier. The fashionable taste for porcelain-mounted furniture was only equalled by the equally fashionable taste for furniture decorated with Japanese lacquer panels, and Carlin supplied numerous pieces for Poirier's partner and successor Dominique Daguerre. Carlin also, of course, supplied a great deal of furniture embellished with fine wood marquetry panels, particularly panels which incorporate trellis and flowerhead patterns as on the present commode. Simon-Philippe Poirier (c.1720-1785) was received into the guild of the Parisian marchands merciers in 1742. In the same year he married the daughter of Michel Hécéguère, a mercier, who was also the niece of the celebrated marchand Hébert. He and his wife joined his in-laws in the building occupied by them at 85 rue Saint Honoré, "A la Couronne d’Or." This partnership continued until the death of Hébert in 1753, at which time their distinguished clientèle included the Prince de Soubise, the Prince de Condé, the Garde Meuble Royal, the Duchesse de Maine and others. Also recorded at the time the inventory of the business was taken were the leading ébénistes of the day, such as Bernard van Risamburg, Joseph Baumhauer, and Roger Vandercruse.
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Poirier continued to run this highly successful business becoming, arguably, the most important marchand mercier of his generation. In 1758 he started to order porcelain plaques from the Sèvres factory to be mounted on furniture. Between 1753 and 1770 it is safe to say that virtually all the furniture mounted with porcelain passed through his hands, and it was during this period that he employed the services of Martin Carlin. This luxurious production attracted ever more illustrious clients, including Madame du Barry, the Comte de Provence, the Marquis de Marigny, and the Comtesse d’Artois, among others. Poirier entered into a partnership with his cousin, Dominique Daguerre in 1770, and it was during this period that they cultivated their foreign clientèle, notably including a number of British aristocrats. This would be increasingly important to Daguerre after he assumed the direction of the business in 1777. Commode à la Grecque This commode is a refinement of the commode à la Grecque, which had been conceived for Madame de Pompadour before 1763 and made by Jean-François Oeben. The design for the present version appears to have been owned by Poirier, but appears to be the only commode à vantaux incorporating as it does drawers concealed behind a cupboard door. A commode with three long drawers was purchased from Poirier in 1763 by Lord Coventry, one of his most important English clients. This had been made to Poirier’s order by Roger Vandercruse (Christie’s, New York, November 2, 2000, lot 264). The Coventry commode is nearly identical to another, attributed to Carlin, designed with two central drawers flanked by narrow cupboard doors (Laura collection, Sotheby’s, Paris, June 27, 2001, lot 52). The present piece is, however, most closely comparable with a commode in the Riahi collection (D. Langeois, Quelques chef d’oeuvre de la collection Djanhanguir Riahi, Milan, 2000, p. 212). Except for the fact that the Riahi commode is fitted with four long drawers (including the frieze drawer) which are fitted with ormolu drapery handles, the two are identical in size and in most details. The Riahi commode is not stamped but that they were produced in the same workshop is indisputable, and the possibility that they were produced as a pair cannot be dismissed.
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The ormolu mounts and the highly distinctive corner mounts depicting draped vestal virgins are found on a number of other pieces made by Martin Carlin, and may have belonged to Poirier: A secrétaire à abattant, illustrated, A. Pradère, French Furniture Makers, Paris, 1989, p. 347 Another secrétaire à abattant virtually identical, from the collection of Mrs. Richard Wallace, sold, Galerie Charpentier, Paris, December 17, 1949, illustrated, Nicolay, L’art et la manière des maîtres ébénistes français au XVIII siècle, Paris, 1956, p. 92, fig. K
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Another secrétaire à abattant sold from the collection of the duc de Vendôme, Galerie Georges Petit, Paris, December 4, 1931, lot 99 The commode in the Riahi collection, referred to above. A commode a vantaux in the Royal Collection at Windsor Castle, unstamped, illustrated, G. Laking, Furniture at Windsor Castle, London, 1905, pl. 36 A console formerly in the collections of both Madame de Poles and subsequently Mrs. Richard Wallace, most recently sold from the Riahi collection, Christie’s, New York, November 2, 2000, lot 29 Martin Carlin and Jean-Henri Riesener both employed the fondeur André Ravrio, which may suggest that he was the author of these distinctive chutes. Further, Ravrio supplied mounts for Oeben in 1763 who was not only Carlin’s brother-in-law, but also was the first husband of Madame Riesener. Riesener used these chutes and, interestingly, an apron mount which is almost identical to the one on the present commode on two secrétaires à abattant. The first, now in the Wallace collection, was delivered for the cabinet intérieur of Marie Antoinette at Versailles in July 1780, illustrated, P. Hughes, The Wallace Collection, Catalogue of Furniture, London, 1996, Vol. II, pp. 969-979. The second, now in the Musée d'Art et d'Histoire, Geneva, Michelham Bequest, is illustrated, A. Pradère, French Furniture Makers, Paris, p. 380, fig. 461. The apron mount on the present commode is very similar to one which appears on furniture made by a number of different cabinetmakers, such as Foullet, RVLC, René Dubois, and, as noted above, Riesener. There are slight variations which appear to make the present mount unique and, therefore, possibly, the property of Poirier. The presence of the Poirier inscription on the present piece is extremely rare but not unprecedented; it is also on a bureau en pente made by Bernard van Risamburg, illustrated, C. Sargentson, Merchants and Luxury Markets, London, 1996, pl. 3.

The Collection of Mr. and Mrs. Stephen C. Hilbert: Important French and English Furniture


Sale Title The Collection of Mr. and Mrs. Stephen C. Hilbert: Important French and English Furniture
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Location New York, Rockefeller Plaza Sale Date SESSION 1 24 May 07 10:00 AM.
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Lot Number 23 - Sale Number N08383
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A FINE PAIR OF EMPIRE ORMOLU AND CUT-GLASS SWEETMEAT DISHES AND A MATCHING ORMOLU AND CUT-GLASS TAZZA CIRCA 1815-20, SIGNED THOMIRE A PARIS 12,000—18,000 USD
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MEASUREMENTS
measurementsheights 14 in.; 10 1/4 in.; diameters 8 3/4 in.; 10 3/4 in. alternate measurements 35.5 cm; 26 cm; 22 cm; 27 cm
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DESCRIPTION
the sweetmeat dishes with two graduated circular bowls supported by a baluster-shaped leaf-cast ormolu standard surmounted by a ring, raised on S-scrolled supports above a concave-sided base; the tazza with a cut-glass bowl above matching S-scrolled supports and a flared leaf-cast socle and circular base. 3 pieces.
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Pierre-Philippe Thomire 1751-1843, was one of the most important bronziers of the ancien régime and the post-revolutionary period. Trained as a sculptor, Thomire worked in the workshop of Pierre Gouthière before establishing his own business in 1775. Shortly thereafter, Thomire assisted Jean-Claude-Thomas Duplessis, who was the artistic director of the Sèvres manufactory. When he died in 1783, Thomire was awarded the appointment and he supplied all the ormolu mounts which were required for certain pieces made at Sèvres. It was this work which helped him to survive the Revolution, a period when many other bronziers fell into bankruptcy. Thanks to the dissolution of the guild system after the Revolution, Thomire was able to greatly expand his business and he sold not only Sèvres porcelain with his inimicable mounts, but also all manner of bronzes d'ameublement as well as furniture.
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PROVENANCE
Galerie Camoin, Paris
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CATALOGUE NOTE
The design of overlapping foliate motifs appears on other comparable pieces by Thomire, see a pair of sweetmeat dishes fitted with three tiers above a group of putti, illustrated, Ottomeyer, Pröschel et al., Vergoldete Bronzen, Munich, 1986, Vol. I, p. 387, pl. 5.16.13. These are part of a complete "surtout de table." An ormolu tazza, also by Thomire, incorporates the same design of overlapping foliage, illustrated, Ottomeyer, op. cit. p. 386, pl. 5.16.10. See also identical baluster-shaped, fluted and leaf-cast supports on a two-tier sweetmeat dish in Rosenborg Castle, Copenhagen, ibid. p. 385, pl. 5.16.8.

Monday, April 16, 2007

IMPORTANT EUROPEAN FURNITURE,WORKS OF ART,CERAMICS & CARPETS



Sale Title
IMPORTANT EUROPEAN FURNITURE,WORKS OF ART,CERAMICS & CARPETS

Location
New York, Rockefeller Plaza Sale Date Apr 20, 2007

Lot Number 0163      -     Sale Number 1842

Creator
SECOND HALF 17TH CENTURY

Lot Title
AN ITALIAN ROSSO ANTICO MARBLE AND ALABASTRO FIORITO BUST OF A FAUN

Estimate 100,000 - 150,000  U.S. dollars

Saleroom Notice
The first line should read 'FAUN' not 'FAWN'. Pre-lot Text PROPERTY FROM A DISTINGUISHED PRIVATE COLLECTION (LOTS 150-203)

Lot Description
AN ITALIAN ROSSO ANTICO MARBLE AND ALABASTRO FIORITO BUST OF A FAUN
SECOND HALF 17TH CENTURY, Depicted facing slightly to dexter, with a cloak knotted over his left shoulder, on a later black marble socle
16 in. (41 cm.) high, 20¾ in. (53 cm.) overall (2)

IMPORTANT EUROPEAN FURNITURE,WORKS OF ART,CERAMICS & CARPETS



Sale Title
IMPORTANT EUROPEAN FURNITURE,WORKS OF ART,CERAMICS & CARPETS
 
Location
New York, Rockefeller Plaza Sale Date Apr 20, 2007

Lot Number 0132        -         Sale Number 1842

Creator
EACH SIGNED 'RABIAT ZE' TWICE AND 'RABIAT R' TWICE, EARLY 19TH CENTURY

Lot Title
A PAIR OF EMPIRE ORMOLU AND PATINATED-BRONZE FIVE-LIGHT CANDELABRA

Estimate 15,000 - 25,000 U.S. dollars

Lot Description
A PAIR OF EMPIRE ORMOLU AND PATINATED-BRONZE FIVE-LIGHT CANDELABRA EACH SIGNED 'RABIAT ZE' TWICE AND 'RABIAT R' TWICE, EARLY 19TH CENTURY
Each with one winged central candlearm with entwined serpents surrounded by four tapering fluted candlearms with acanthus leaves, on a verde antico base with anthemian and putti, female figures probably originally with wings
31 in. (79 cm.) high (2)

Lot Notes
Claude-François Rabiat (d. 1815), was apprenticed to Etienne Vignerelle in 1769 and established as maître in 1778. Established at 41, rue Beaubourg, he had a thriving business and regularly provided a variety of clocks and candelabra to other accomplished bronziers and horlogers including Thomire, Feuchère and Claude Galle. An example of this practice is firmly established through a documented pair of candelabra delivered on 23 December 1809 by the bronzier Claude Galle for the Boudoir of the Petit Trianon at Versailles illustrated in D. Ledoux-Lebard, Le Grand Trianon, p. 35, and H. Ottomeyer, P. Pröschel et al., Vergöldete Bronzen, Munich, 1986, Band II, p. 705, fig. 21. Further information on Rabiat can be found in D. Ledoux-Lebard, 'Rabiat', L'Estampille/L'Objet d'Art, April 1991, p. 91.


SALE AM1019 - Fine European Furniture and Clocks


SESSION 2 | 16 Apr 07 2:00 PM
LOT 277

A PAIR OF PORCELAIN BLUE-GROUND VASES, PARIS, EMPIRE, CIRCA 1820

6,000—8,000 EUR


MEASUREMENTS
height 42.8cm.

DESCRIPTION
of crater form, each painted with a titled cameau profile portrait of either Cesar or Auguste, against a tooled panel decorated with stiff-leaves and paterae, the reverse with circular panels decorated with trophy vignettes, restored (2)

Quantity: 2