Thursday, November 8, 2007
Friday, October 26, 2007
PAIR OF ORMOLU, PATINATED BRONZE AND MARBLE SIX-LIGHT CANDELABRA, CIRCA 1800, ROME, ATTRIBUTED TO FRANCESCO RIGHETTI
measurementsheight 32 in.; width 12 1/4 in.
alternate measurements81 cm; 31 cm
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.
(Formerly sold at Sotheby's, London, June 15, 1990, lot 132,)
measurementsheight 31 in.; diameter 43 1/2 in.
alternate measurements 78.5 cm; 110.5 cm
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.
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.
measurementsheight 59 1/2 in.; width 23 in.
alternate measurements150.5 cm; 58 cm
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
Saturday, September 8, 2007
Early 19th century
Attributed Pierre Philippe Thomire
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.
Workshop of Pierre-Phillipe Thomire
measurementsoverall height 33 in.; lamp height 20 3/4 in.
alternate measurements84 cm; 53 cm
the ormolu base after a model by Thomire.
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.
Wednesday, August 8, 2007
attributed to Joseph-Marie BENARD - Paris, circa 1820
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
Tuesday, August 7, 2007
of Roman Emperor Gaius Julius Caesar and
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
Sale L07230 - Session 1 - 28 Jun 07 - 10:30 AM - London
relief in frame: 21 by 20.3cm., 8¼ by 8in. bust: 17cm., 6 5/8 in.
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)
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
A 17th Century Bronze Bust of a Roman Emperor, on a red simulated
marble base and a square woodensocle..
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
Attributed to Pierre-Philippe Thomire (workshop)
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
*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).
Thursday, July 19, 2007
Friday, July 6, 2007
Sunday, May 27, 2007
Friday, May 25, 2007
Friday, May 18, 2007
Gallery: Robert Bowman Gallery
Signed A.Rodin and inscribed with the foundry mark A.Rudier. Fondeur. Paris.
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.
Frances Leventritt, New York
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
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’.
Thursday, May 3, 2007
Location New York, Rockefeller Plaza - Sale Date SESSION 1 24 May 07 10:00 AM.
Lot Number 29 - Sale Number N08383
AN IMPORTANT LOUIS XVI ORMOLU-MOUNTED TULIPWOOD AND MARQUETRY COMMODE A VANTAUX CIRCA 1770, STAMPED M. CARLIN, RETAILED BY SIMON-PHILIPPE POIRIER
measurementsheight 35 3/4 in.; width 57 in.; depth 21 in.
alternate measurements90.5 cm; 145 cm; 53.5 cm
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
Probably acquired by David, 7th Viscount Stormont (later 2nd Earl of Mansfield), in Paris, c. 1772.
The Earls of Mansfield and Mansfield, Scone Palace, sold, Sotheby's, London, December 8, 1967, lot 142
Collection of Akram Ojjeh, sold, Sotheby's, Monaco, June 25-26, 1979, lot 50
Sir Charles Clore, sold, Christie's, Monaco, December 6, 1985, lot 54
Partridge Fine Arts, London
Royal Scottish Museum, Edinburgh, 1965-67
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
David Murray, seventh Viscount Stormont and second earl of Mansfield (17271796). 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 dOr." 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.
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 dArtois, 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 Poiriers order by Roger Vandercruse (Christies, 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, Sothebys, 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 doeuvre 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.
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, Christies, 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 Carlins 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.
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
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.
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.
Galerie Camoin, Paris
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
New York, Rockefeller Plaza Sale Date Apr 20, 2007
Lot Number 0163 - Sale Number 1842
SECOND HALF 17TH CENTURY
AN ITALIAN ROSSO ANTICO MARBLE AND ALABASTRO FIORITO BUST OF A FAUN
Estimate 100,000 - 150,000 U.S. dollars
The first line should read 'FAUN' not 'FAWN'. Pre-lot Text PROPERTY FROM A DISTINGUISHED PRIVATE COLLECTION (LOTS 150-203)
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
New York, Rockefeller Plaza Sale Date Apr 20, 2007
Lot Number 0132 - Sale Number 1842
EACH SIGNED 'RABIAT ZE' TWICE AND 'RABIAT R' TWICE, EARLY 19TH CENTURY
A PAIR OF EMPIRE ORMOLU AND PATINATED-BRONZE FIVE-LIGHT CANDELABRA
Estimate 15,000 - 25,000 U.S. dollars
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)
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.
A PAIR OF PORCELAIN BLUE-GROUND VASES, PARIS, EMPIRE, CIRCA 1820
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)