KIKA MULITZ LIVNO

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

2008-03-20T16:55:00.001-07:00

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

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.).

PROVENANCE: Private collection (SDK)

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

2008-03-20T04:44:00.000-07:00

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)

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

2008-03-09T20:52:00.000-07:00

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

2008-03-09T20:50:00.000-07:00

Rare pair of early 19th Century Empire Candelabras Époque

by Pierre-Philippe Thomire (signés THOMIRE A PARIS)

PROVENANCE: Private collection (SDK)

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

2008-03-09T20:49:00.000-07:00

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

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

2008-03-09T11:38:00.000-07:00

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

...

MEASUREMENTS

cm 127x43x26

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

2008-03-09T11:00:00.000-07:00

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.

2008-03-09T10:31:00.000-07:00

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

Sold: 4,515,750 USD

A quéridon table attributed to Sebastian Youf ca. 1830

2008-03-09T10:10:00.001-07:00

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.

2008-03-09T10:10:00.000-07:00

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.

PROVENANCE: Private collection (SDK)

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

2008-03-09T10:07:00.001-07:00

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),

2008-03-09T10:07:00.000-07:00

BELLE PAIRE DE GRANDS CANDÉLABRES EN BRONZE PATINÉ ET DORÉ

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

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

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

PROVENANCE: Private collection Sold to (SDK) 250,875 EUR - Private: SDK

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

2008-03-09T10:06:00.000-07:00

Restauration period gilt bronze mantle clock

by Louis-Stanislas Lenoir-Ravrio,

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.

PROVENANCE: Private collection (SDK)

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

2008-03-09T10:05:00.000-07:00

Empire gilt bronze and rouge griotte Medici Vases

attributed to Pierre-Philippe Thomire (1751-1843)

...

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

2008-03-09T10:04:00.001-07:00

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

2008-03-09T10:04:00.000-07:00

Important Paire of French Empire Candelabras
by Gérard-Jean Galle

PROVENANCE: Private collection (SDK)

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

2008-03-09T10:03:00.000-07:00

(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

2008-03-09T10:01:00.000-07:00

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

view of Potsdam attributed to Eduard Wilhelm Forst

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

2008-03-09T10:00:00.000-07:00

An important Topographical Vase with a Panoramic View of Potsdam

by Eduard Wilhelm Forst

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

REGION: German, GALLERY: +49-(0)89-28 06 40

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

2008-03-09T09:58:00.000-07:00

Emire Clock case representing Phaeton’s flight in the sun’s

chariot across the heavens by Pierre-Philippe Thomire

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

2008-03-09T09:57:00.002-07:00

Rare pair of 18th Century Roman Busts

Depicting Lucius Verus and Roman Emperor Septimus Severus

PROVENANCE: Private collection (SDK)

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

2008-03-09T09:57:00.001-07:00

Pair of Empire gilt and patinated bronze statuettes of

‘The Crouching Aphrodite’ & ‘L’Amour Prenant un Papillon’

after Antoine-Denis Chaudet

PROVENANCE: Private collection (SDK) by Daguerre

19th Century Empire Secretaire by Sachman

2008-03-09T09:57:00.000-07:00

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. ..

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

2008-03-09T09:54:00.000-07:00

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

2008-03-09T09:49:00.000-07:00

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.

Height: 4 feet 2 3/8 inches Width: 2 feet 2 inches Depth: 22 7/8 inches

PROVENANCE: Private collection (SDK)

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

2008-03-09T09:46:00.000-07:00

First half 19th Century, Colossal

Bust of Antonia Augusta

inscribed: FREDERICO/BARONI DE SAYE & SELE/IN SUMMA PARITER FELICITATE/ET IN ACERBISSIMO DOLORE/SEMPER VERE FRATRI/ E. T./ A.D. 1864

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)

Important Paire of French Empire Candelabras by Gérard-Jean Galle

2008-03-08T09:50:00.000-08:00

Important Paire of French Empire Candelabras

by Gérard-Jean Galle

PROVENANCE: Private collection (SDK)

17th Century Marble and Alabaster Bust of Roman Emperor Hadrian

2008-03-02T10:05:00.000-08:00

17th Century Marble and Alabaster Bust of

Roman Emperor Hadrian

PROVENANCE: Private collection (SDK)

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

2007-11-08T08:25:00.000-08:00

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

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

2007-10-26T14:42:00.000-07:00

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

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

2007-10-26T14:32:00.000-07:00

EMPIRE ORMOLU-MOUNTED MAHOGANY GUÉRIDON CIRCA 1815,

THE ORMOLU INSCRIBED FEUCHÈRE

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MEASUREMENTS
measurementsheight 31 in.; diameter 43 1/2 in.
alternate measurements 78.5 cm; 110.5 cm

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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.

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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

2007-10-26T13:24:00.000-07:00

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 )

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

2007-09-08T08:54:00.000-07:00

Dressing Table Workshop of Martin Guillaume Biennais France.

Paris. Circa 1817

Amboina wood, bronze and smalt; carved and gilded. 190x119x73 cm

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

2007-09-08T08:51:00.000-07:00

Console Table Decorated with the "Gods of Olympus" Relief France.

Paris. Late 18th century

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

2007-09-08T08:42:00.000-07:00

Twin Console Tables Decorated with the "Honouring of Virgil" Relief France.

Paris. Early 19th century

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

2007-09-08T08:36:00.000-07:00

Mahogany console table with gilded and patinated bronze fittings
Early 19th century
Attributed Pierre Philippe Thomire
Paris

..
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.

2007-09-08T08:34:00.000-07:00

Round Mirror Centerpiece with six candelabra around the edge
Before 1822
Workshop of Pierre-Phillipe Thomire
Paris, France

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

2007-09-08T05:04:00.000-07:00

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

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

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

..
DESCRIPTION
the ormolu base after a model by Thomire.

..
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.

ANANTIQUE FRENCH EMPIRE PERIOD COMMODE

2007-08-08T07:28:00.000-07:00

AN ANTIQUE FRENCH EMPIRE PERIOD COMMODE

attributed to Joseph-Marie BENARD - Paris, circa 1820

Detail - AN ANTIQUE FRENCH EMPIRE PERIOD COMMODE
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

Jeremy Ltd

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

2007-08-07T14:45:00.001-07:00

Bust of Minerva

(finial of a banner) Ancient Rome,

1st century

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

2007-08-07T14:45:00.000-07:00

Bust of Athena

Italy. Late 16th - early 17th century

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

2007-08-07T14:44:00.002-07:00

18th Century set of four Busts of Roman Emperors

Depicting: left to right

- Titus Flavius Sabinus Vespasianus

- Gaius Julius Caesar

- Tiberius Claudius Drusus Nero Germanicus

- Publius Aelius Traianus Hadrianus

PROVENANCE: Private collection (SDK)

19th Century Bronze Bust of Roman Emperor Nero

2007-08-07T14:43:00.000-07:00

19th Century Bronze Bust of Roman Emperor Nero

..
PROVENANCE: Private collection (SDK) sold by Hampel

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

2007-08-07T14:42:00.000-07:00

PAIRE DE BUSTES D'EMPEREURS ROMAINS,

FIN XVIIE SIÈCLE/ DÉBUT XVIIIE SIÈCLE

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

2007-08-07T14:41:00.001-07:00

18th Century Bronze Busts

depicting Emperor Galba and Emperor Vitellius

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

2007-08-07T14:36:00.000-07:00

Vincenzo Gemito Italian, 1852-1929,

A relief of Alexander the Great and a small bust of Medusa

....
Sale L07230 - Session 1 - 28 Jun 07 - 10:30 AM - London
.....

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.
.
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

2007-08-07T14:05:00.000-07:00

#1004 Suite of 4 Alabaster Busts

Baroque, Rome 18th century Later wooden pillars. Repairs.

...

H. ca. 36 cm.

Provenance: Castle collection, West Switzerland.
....
Furniture
Galerie Koller Zurich
23.09.2004 - 11. - 18.09.2004 .............Estimate: 6.000 to 10.000 SFR3.900 to 6.500 EURO

BUSTE D'EMPEREUR ROMAIN EN BRONZE, XVIIE SIÈCLE

2007-08-06T10:20:00.000-07:00

BUSTE D'EMPEREUR ROMAIN EN BRONZE,

XVIIE SIÈCLE..

...
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

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

2007-08-06T10:18:00.000-07:00

BUSTE D'EMPEREUR ROMAIN EN BRONZE,

XVIIE SIÈCLE

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

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

2007-08-02T20:19:00.000-07:00

Decorative Design of the "Music" Mantle Clock, Circa 1805
Attributed to Pierre-Philippe Thomire (workshop)
..

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

EMPIRE CLOCK ""LE GENIE INSPIRE PAR MINERVE"", Empire, the model by C.F. RABIAT (Claude François Rabiat, 1756 Paris 1815)

2007-08-02T08:20:00.000-07:00

#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

2007-08-02T08:19:00.000-07:00

PAAR ATHENIENNES, spätes Empire,

nach Vorlagen von C. PERCIER (Charles Percier, 1764-1838)

und P. FONTAINE (Pierre F.L. Fontaine, 1762-1853),

*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)

2007-08-02T08:18:00.000-07:00

.....
*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.-

19th Century Miniature alabaster Bust of Lucius Verus

2007-07-19T10:50:00.000-07:00

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)

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

2007-07-06T10:30:00.000-07:00

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)

The Susse Frères Black Softwood Box (1839), update

2007-05-27T10:44:00.000-07:00

First Camera Makes $775,000

The Susse Frères Black Softwood Box (1839)

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."

The Legendary 1839 Susse Frères

2007-05-25T10:07:00.000-07:00

The Legendary 1839 Susse Frères

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
.
.

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

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

2007-05-18T11:55:00.001-07:00

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

....

Gallery: Robert Bowman Gallery

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

Height 7 inches (17.8 cm)
Signed A.Rodin and inscribed with the foundry mark A.Rudier. Fondeur. Paris.

...

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.

...

Provenance
Frances Leventritt, New York

...

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

2007-05-18T11:47:00.000-07:00

Pendule en bronze de RAVRIO, époque Empire

....

Dealer: Galerie Antoni

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

2007-05-18T11:08:00.000-07:00

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

......

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!

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

2007-05-03T23:19:00.000-07:00

Sale Title The Collection of Mr. and Mrs. Stephen C. Hilbert: Important French and English Furniture
. ..
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
...
700,000—1,000,000 USD
...
...
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.

...
The Earls of Mansfield and Mansfield, Scone Palace, sold, Sotheby's, London, December 8, 1967, lot 142

...

Collection of Georges Wildenstein, New York

...
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
....
EXHIBITED
Royal Scottish Museum, Edinburgh, 1965-67

....

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
..

CATALOGUE NOTE
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.

...

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, Lart et la manière des maîtres ébénistes français au XVIII siècle, Paris, 1956, p. 92, fig. K
...
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.

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

2007-05-03T23:10:00.000-07:00

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

.....

Location New York, Rockefeller Plaza Sale Date SESSION 1 24 May 07 10:00 AM.

...

Lot Number 23 - Sale Number N08383

...

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

.....
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

......
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.

....
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.

.....
PROVENANCE
Galerie Camoin, Paris

....

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.

IMPORTANT EUROPEAN FURNITURE,WORKS OF ART,CERAMICS & CARPETS

2007-04-16T14:54:00.000-07:00

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

2007-04-16T14:43:00.000-07:00

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

2007-04-16T10:25:00.000-07:00

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

ROME, second half 16th Century, A pair of bronze busts of Roman Emperors, WORKSHOP OF GUGLIELMO DELLA PORTA (C.1515-1577)

2006-12-08T10:30:00.000-08:00

..16th Century Bronze bust of Roman Emperor

Titus Flavius Sabinus Vespasianus

16th Century Bronze bust of Roman Emperor Gaius Julius Caesar

.....

ROME, Second half 16th Century, A pair of bronze busts of Roman Emperors, Titus Flavius Sabinus Vespasianus and Gaius Julius Caesar. Workshop of GUGLIELMO DELLA PORTA (C.1515-1577), related to models by WILLEM VAN TETRODE (C.1525-1580)

..........
MEASUREMENTS
measurements notecaesar: 28cm., 11in. vespasian: 29cm., 11 3/8 in.

......
DESCRIPTION
thin casts with integral socles and applied cartouches inscribed CÆSAR and T.VESPA, looking to their left with togas fastened over the right shoulder (2)

......
CATALOGUE NOTE
These busts are cast from models belonging to a series of twelve emperors conceived by Tetrode in Rome in the mid-sixteenth century. They were modelled circa 1559, when Tetrode received his first independent commission to decorate a cabinet for Niccolò IV Orsini, count of Pitigliano. The Pitigliano cabinet mounted bronze reductions of the most celebrated antiquities of Rome, including a set of twelve emperors. Tetrode, whose work was heavily influenced by classical sculpture, based his busts on marble models by della Porta, in whose workshop and foundry he was employed in the 1550's. The moulds probably remained there, for an inventory drawn up after della Porta's death, in 1578, refers to forme de duodeci imperatori picchole. That further casts were made after Tetrode's departure, differing slightly in facture and finish, is therefore quite likely.The Pitigliano cabinet, which passed into the possession of Grand Duke Cosimo I of Tuscany soon after its completion, is now lost but the original bronzes, including the busts, survived and are now in the Uffizi, Florence. The mannerist cartouches bearing the names on the present bronzes, cast and attached separately, differ to the originals which replicate the standard double-scroll name plates common to antiquity.

......

RELATED LITERATURE Scholten (2003), pp.24-5, ills.19-22; Lanciani, p.265

Sale: L06233 Location: London, New Bond Street, Auction Dates: Session 1: Fri, 08 Dec 06 10:30 AM, LOT 93 26,400 GBP

PROVENANCE: Private collection (SDK)

(Formerly Chateau de Groussay, FRANCE)

ROMAN, EARLY 19TH CENTURY BEARING THE MONOGRAM OF LUIGI PICHLER (1773-1854) A MARBLE BUST OF EMPEROR CARACALLA (211-217 A.D.)

2005-12-09T16:34:00.000-08:00

ROMAN, EARLY 19TH CENTURY BEARING THE MONOGRAM OF
LUIGI PICHLER (1773-1854) A MARBLE BUST OF EMPEROR CARACALLA (211-217 A.D.)

.....

MEASUREMENTS
measurements note
bust: 38cm., 15in.overall: 50cm., 19¾in.
....
DESCRIPTION
signed: L.P. in Greek, the truncation finished at the neck-line and mounted on a black marble base
....
CATALOGUE NOTE
Although not known to have sculpted in the round, Pichler was a highly distinguished gem-engraver quite capable of carving in stone. He was in any case a multi-talented artist, trained as a painter in the studio of Domenico de Angelis and taught to model in wax by his father Giovanni. Pichler often signed his gems, cameos and intaglios in Greek, either with his full name or his initials, as they appear on the present bust. His coin-dies are also initialed.
....
The intriguing use of red diasper marble from the Urals raises the possibility that the bust was a special commission from one of Pichler's many distinguished Russian clients, which included Tsar Alexander I and his consort Elizabeth, Count Tatischtschew and Grand Duke Alexander. The termination of the bust at the neck line is consistent with many surviving versions of Caracalla that came to light in 18th century excavations, for example that in the Carlsberg Glyptotek (inv.730). The primary version is in the Museo Nazionale di Napoli. Haskell identified the impact of the turned head and ferocious gaze as the reason for its fame, which frightened some contemporary observers familiar with his ruthless reign: 'As one looked at the bust, or rather was looked at by it, the past suddenly and dramatically became present'.

RELATED LITERATURE
Forrer, vol.4, p.522-30; Taste and the Antique, p.172-3, no.18; Cheneviere, p.263, no.287
Sale: L05234 | Location: London, New Bond Street, Auction Dates: Session 1: Fri, 09 Dec 05 10:30 AM, LOT 136 21,600 GBP
PROVENANCE: Private collection (SDK)

Henryk Ittar (1773-1850), Poland, circa 1800

2005-12-09T14:43:00.000-08:00

HENRYK ITTAR (1773-1850), POLAND,

CIRCA 1800A GREY MARBLE BUST OF ANTINOUS

.....

European Sculpture & Works of Art

Sale L05234 - Session 1 - 09 Dec 05 - 10:30 AM - London, New Bond Street
oland

A grey Marble bust of Antoniuis, POLAND, circa 1800

HENRYK ITTAR (1773-1850),

LOT 143 50,000—80,000 GBP Lot Sold. Hammer Price with Buyer's Premium: 54,000 GBP
MEASUREMENTS
measurements note63.5cm., 25in.
.
DESCRIPTION
in royal Egyptian headdress, the bust finished with herm truncation and left rough-hewn to the rear

......

CATALOGUE NOTE
This version of the deified youth Antinous was designed to be placed within the Tomb of Illusions, a temple within the romantic, classicising garden of Arkadia, the conception of the Princess Helen Radziwill created in the last decades of the 18th Century in Poland. Antinous, the beautiful young Greek favourite of the emperor Hadrian, died in the river Nile at the age of 18 or 20, as legend has it whilst saving the Emperor's life. The grief-stricken Hadrian deifed the youth and changed the name of his birth-place to Antinoöpolis, now el-Sheikh Ibada. A cult began in Antinous' honour and coins and statues were produced in his image. Here he is depicted in Egyptian costume, presumably referring to his death in the Nile. Antinous' connotations of youth, beauty and death were perfectly suited to the sensibility of the Princess' conception and Henryk Ittar's own classicising artistic concerns. Another, smaller, version of Ittar's bust is in the Hermitage Museum, St Petersburg. The model may refer to an antique depiction of Antinous as the Egyptian god Osiris found at Hadrian's Villa at Tivoli in 1738-39, now in the Vatican Museums. The royal headress and slightly convex chest of Ittar's Antinous seem to be inspired by the antique prototype. Another antique bust which is very similar to the Vatican version is at Bowood in Wiltshire. It was found in the Pantanello of Hadrian's Villa in 1769 and it is possible that the two antiquities formed a pair. To create Arkadia, Princess Radziwill persuaded her husband to acquire the village of Lupia, on the road to Lowicz, because of its sublime landscape and particularly the river running through it. He obtained the village in exchange for another with the Archbishop of Gniezo. Helen Radziwill's conception of the garden was based on the classical writings of Virgil. His pastoral Arcadia, populated by shepherds, was an oasis of the calm and gentle, and yet in one of the most famous passages Virgil states that death, too, is present in Arcadia: 'Et in Arcadia ego'. The Tomb of Illusions was the Princess's way of entering the solemnity of death into her own Arkadia. The ashes of her three daughters were kept there.Helen Radziwill was well read and well travelled. She had strong literary interests and a magnificently stocked library containing several thousand volumes of the classics as well as modern poetry and prose by the likes of Voltaire and Chateaubriand. The Princess was also a great art collector and obtained a great number of antiquities, many of which were the gift of her friend, Catherine II of Russia. Gardens such as Arkadia were much in vogue amongst the Polish aristocracy in the later decades of the 18th Century and Helen Radziwill's motivation was certainly competition as well as erudition. Hers was one of the last of these gardens and one of the very few to be preserved to the present day. The project took her 40 years and included her own tomb.Henryk or 'Enrico' Ittar was the son of the architect Stefano Ittar. Stefano appears to have been born in Poland, but was Italian, descended from Guidone de Hittar, Conte del Balneo di Toscana. He worked in Catania, Sicily, before going on to Malta to design the new library for the Knights of St John in Valetta. Stefano stayed in Malta with his family until his death in 1790. Two of his sons had considerable success as architects. Henryk's brother Sebastiano counted Lord Elgin amongst his patrons and some of his drawings of the Parthenon Frieze are in the collection of the British Museum. Henryk went to Poland immediately after his father's death and his patrons there included the influential Zamoyski family as well as the Radziwills. Towards the end of his life his style evolved from the Classicism nurtured by his father into a Gothic Revival. RELATED LITERATURE Piwkowski, unpaginated; Raeder, figs. 108.1 & 108.2; Sammut, pp.20-27

A ROMAN STYLE MARBLE PORTRAIT BUST

2005-04-20T00:26:00.000-07:00

A ROMAN STYLE MARBLE PORTRAIT BUST

SALE 7161, 20 April 2005 ANTIQUITIES

Of Augustus type, the male head wearing large wreath, mounted on turned socle with variegated marble column and additional turned marble socled mount

Bust: 19 in. (48 cm.)
high; column and socle: 38½ in. (98 cm.) high

PROVENANCE: Private collection (SDK) £114,000 ($218,538)

Acquired circa 1928 by the owner's father-in-law in Berlin.

A pair of end of the 18th c. busts of Jupiter and Ceres signed and dated 1788.

2004-03-26T11:07:00.000-08:00

A pair of end of the 18th c. busts of Jupiter and Ceres

signed and dated F.Righetti Roma 1788

....

Tête de JupiterBronze, fonte à cire perdue. Signé et daté au dos :F.Righetti : F.Romae: 1788 Haut. totale : 47,5 cm ; buste : 23,5 cm. Tête de JunonBronze, fonte à cire perdue. Signé et daté au dos :F.Righetti : F.Romae: 1788Haut. totale : 48 cm ; buste : 24 cm.
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Piédouches en marbre vert. Les bustes reposent sur une base de marbre blancen forme de colonne cannelée ; contre-socles quadrangulaires en marbre noir.Ornementation de feuilles d’eau, frises de bronze doré à motif de perles ettorsades.
....
Francesco Righetti est sans conteste l’un des sculpteurs, bronziers etfondeurs les plus importants à Rome à la fin du XVIIIe siècle et au début duXIXe siècle. Après son apprentissage avec Luigi Valadier, orfèvre etsculpteur, Righetti s’installa à son compte. Sa première grande commandedate de 1781 et consista à fondre douze répliques de sculptures antiques,mais aussi des copies d’après Jean de Bologne ou Duquesnoy pour le banquieranglais Hope. La grande qualité de son travail lui permit égalementd’obtenir la commande de la réduction du groupe du Mont Parnasse du muséePio-Clementino pour l’Impératrice Catherine II, en 1786.Sans s’étendre sur l’étendue de sa brillante production, Righetti futsurtout connu - comme ses contemporains Giovanni et Giacomo Zoffoli - pourles nombreuses réductions d’antiques qu’il fondait pour les visiteursétrangers désireux de garder un souvenir des plus célèbres sculptures deRome. L’ampleur de son atelier l’obligea même à faire travailler d’autresartistes comme Camillo Pacetti qui copiait pour lui des modèles d’antiques.Le catalogue rédigé en français qu’il publia en 1794 donne la mesure del’étendue de sa production. Il proposait ainsi à la vente soixante seize(simples) figures, vingt-cinq groupes, différents vases et trophées,sculptures d’animaux et enfin cinquante six bustes parmi lesquels devaientfigurer ceux de Jupiter et de Junon présentés ici. Il est fort probablequ’ils furent ramenés en France dès 1788 comme le laisse penser leurs soclesraffinés typiques de la fin du règne de Louis XVI. Ils renvoient à d’autresexemples présentant les mêmes qualités d’exécution et de reparure, tels queles bustes de Bacchus et Ariane (1789, Oxford, Ashmolean Museum) dedimensions similaires, ou encore la paire de bustes de Bacchant etBacchantes signé et daté 1791, montés sur des socles en marbre bleu turquin,et provenant selon le texte du catalogue de vente du palais de Saint Cloud(Vente, Paris, 8 avril 1892, n° 54).
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Bibliographie : Inédit. Sur Francesco Righetti : Hugh Honour, After the Antique : SomeItalian Bronzes of the Eighteenth Century, Apollo, mars 1963, p. 194-200.Alvar Gonzales-Palacios, Ristudiando I Righetti, Antologia di Belle Arti,Nuova serie, II. 39-42, 1991-1992. Studi sul Neoclassissismo III, p. 17-46.Nicholas Penny, Catalogue of European Sculpture in the Ashmolean Museum.1540 to the present Day. Volume 1, Italian, Oxford, 1992, p. 117-120. Cat.expo. : Art in Rome in the eighteenth century, Philadelphie, Museum of Art,2000, p. 276-277.

LOT N°136, VENDU : 232 000 € EXPERT : Cabinet Froissart-Lemaire Date 26.03.2004
PROVENANCE: Private collection (SDK)
(Formerly: Louis Philippe II d'Orléans, 6th Duke of Orléans (1773-1850)

EMPIRE GILT AND PATINATED BRONZE SCULPTURAL MANTEL CLOCK, LESIEUR À PARISCIRCA 1800

2003-11-25T10:00:00.000-08:00

EMPIRE GILT AND PATINATED BRONZE SCULPTURAL MANTEL CLOCK,

LESIEUR À PARISCIRCA 1800

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MEASUREMENTS
height 64 cm

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DETAILED DESCRIPTION

Restored enamel dial with Roman numerals signed Lesieur à Paris, steel Breguet hands, finely gilt engraved oak-leaf bezel, movement with anchor escapement signed Lesieur, countwheel striking on a bell. silk suspended pendulum, finely cast and chiselled patinated case with laurel relief to the side surmounted by an ormolu urn, an ormolu sword and axe running through, supported by a column and flanked by two classical helmets, the rectangular moulded base with applied ormolu leaf relief raised on four claw feet, bronzework of high quality

(SDK) - Sale: AM0907 Location: Amsterdam /LOT 134 /22,513 EUR

PROVENANCE: Private collection (SDK)

An Italian White Marble Bust of Alexander Severus 2nd half of the 18th Century

2003-10-22T15:03:00.000-07:00

An Italian White Marble Bust
of Alexander Severus 2nd half of the 18th Century

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MEASUREMENTS
overall height 20 3/4 in. (52.7cm)

DESCRIPTION
inscribed on his chest MAGO, upon gray marble, waisted socle.
Sale: N07928 | Location: New York | Auction Dates: Session 2 | Wed, 22 Oct | 03 10:15 AM | LOT 158, 36,000 USD
PROVENANCE: Private collection (SDK)
- Formerly Bill Blass, acquired from Westenholz Antiques, 1984
- Formerly Westenholz Antiques Ltd., London
- Formerly Pablo Picasso

18th Century, A pair of Italian bronze portrait busts of EPICURUS and PYTHAGORUS, attributed to GIACOMO ZOFFOLILATE

2003-10-21T11:13:00.000-07:00

18th Century portrait Bust of PYTHAGORUS

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18th Century portrait Bust of EPICURUS
..........

18th Century, A pair of Italian bronze portrait busts of EPICURUS and PYTHAGORUS, attributed to GIACOMO ZOFFOLILATE
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MEASUREMENTS
height of tallest 18in. (45.7cm)
........
DETAILED DESCRIPTION
Each set into gilt-bronze sleeve and atop later tapering pilaster, both inscribed with his name on his chest.
Sale: N07928 Location: New York , Auction Dates: Session 1: Tue, 21 Oct 03 7:00 PM, LOT 6 33,000 US
PROVENANCE: Private collection (SDK)
(Formerly Daniel Katz Ltd., London)

19th Century Bronze Bust of Roman Emperor Marcus Aurelius by Benedetto Boschetti Italian, fl.1820-1870

2003-08-07T16:57:00.000-07:00

19th Century Bronze Bust of Roman Emperor Marcus Aurelius
by Benedetto Boschetti Italian, fl.1820-1870
.....

MEASUREMENTS
bust: 30cm., 11¾in.
base: 13cm., 5 1/8in.
.....
DESCRIPTION
bronze, dark brown patina, on a black and mottled red marble base in two parts
Auction Dates: Session 1: Tue, 08 Jul 03 10:30 AM, Sale: L03231 | Location: London, New Bond Street , LOT 171 2,160 GBP
PROVENANCE: Private collection (SDK)

Statuette d'Hermaphrodite en bronze France, début du XIXe siècle, le socle estampillé JACOB FRERES/RUE MESLEE

2003-06-25T16:35:00.000-07:00

Succession de Mademoiselle Henriette Alfandari, vent eau profit de

l'Institut Pasteur, Statuette d'Hermaphrodite en bronze France, début

du XIXe siècle, le socle estampillé JACOB FRERES/RUE MESLEE

..
MEASUREMENTS
Haut. totale 20cm, larg. 40cm
...
DESCRIPTION
bronze à patine brune, sur un socle en bois à montures de bronze posé sur des pattes de lion
...
Référence bibliographique:
F. Haskell, N. Penny, Pour l'Amour de l'Antique. La Statuaire gréco-romaine et le goût européen 1500-1900. Paris, 1988, p. 48.
Sale: PF3008 Location: Paris - LOT 122 12,600 EUR
PROVENANCE: Private collection (SDK)

Paire de petits bustes d'empereurs romains en bronze début du début du XIXe siècle

2003-06-25T16:33:00.000-07:00

Paire de petits bustes d'empereurs romains

en bronze début du début du XIXe siècle

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MEASUREMENTS
Haut. totale 38cm

Sale: PF3008 Location: Paris Auction Dates: Session 1: Wed, 25 Jun 03 4:30 PM LOT 166 5,400 EUR

PROVENANCE: Private collection (SDK)

19th century, Pair of Russian Mahogany Pedestals

2003-06-25T16:30:00.001-07:00

Pair of Russian mahogany pedestals

Russian, 19th century

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MEASUREMENTS
Haut. 105cm

Sale: PF3008 LOT 163 Location: Paris 47,200.00 EUR-

PROVENANCE: Private collection (SDK)

Porte coupes en bronze doré

2003-06-25T16:30:00.000-07:00

Succession de Mademoiselle Alfandari, vente au profit de l'Institut

Pasteur, Porte coupes en bronze doréd'époque Restauration

signée THOMIRE A PARIS

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MEASUREMENTS
Haut. 64cm, larg. 21cm

..
DESCRIPTION
le fût orné d'enfants musiciens; avec un élément en colonne supportant trois coupes de verre taillé en pointe de diamant ; la base tripode reposant sur des griffes de lion et sur un socle à section circulaire décoré de pampres.

PROVENANCE: Private collection (SDK)

Paire de porte coupes en bronze doré

2003-06-25T04:30:00.000-07:00

Succession de Mademoiselle Alfandari, vente au profit de l'Institut

Pasteur (2) Paire de porte coupes en bronze doréd'époque Restauration

signés THOMIRE A PARIS

..
MEASUREMENTS
Haut. 43cm, diam. 24,5cm

..
DESCRIPTION
le fût orné de feuilles d'acanthe, palmettes et têtes de bélier supportant trois éléments en enroulement soutenant une coupe de verre taillé en pointe de diamant ; la base tripode reposant sur des griffes de lion et un socle à section circulaire décoré de pampres.

PROVENANCE: Private collection (SDK)

An important Italian micromosaic and marble topped bronze centre table, the top signed by Michelangelo Barberi and dated 1828

2003-06-11T17:21:00.000-07:00

An important Italian micromosaic and marble topped bronze
centre table,the top signed by Michelangelo Barberi and dated 1828
...
....The bronze base, second quarter of the 19th century
....

MEASUREMENTS
76cm. high, 108cm. diameter; 2ft. 6in., 3ft. 6½in.
...
DESCRIPTION
the circular top inlaid with the portrait of Bacchus within a red and black frame, supported by four amphorae on a white marble ground with a lion, leaping boar, bull and leopard, within a Greek key border and scrolling vines, the bronze base on amphora supports joined by a panther-belt undertier and terminating in paw feet; constructional break to one corner of the undertier.
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THE MICROMOSAIC TOP:
The central roundel on this table top depicts Bacchus the God of wine in a pelt of a panther, draped in vines and grapes, although the source for it remains unknown to date. It is worth noting however, that the cartoon for Barberi's celebrated `Triumph of Love ' table which was originally intended for Pope Pius VII's at the Campidoglio was supplied by the Russian artist Feodor-Antonowitsch Bruni (1801-74) who studied in Rome before establishing himself in Moscow.
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A related bacchic medallion which is signed by the mosaicist Clemente Ciuli and dated 1825 can be found on a table top which was purchased by Lord Weston on a Grand Tour and later purchased by Sir Harry Calvert (d.1894) for Claydon House, Buckinghamshire.
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It is entirely appropriate that the border of this top depicts amphora vases which were used for storing wine in Antiquity. The prancing animals depicted mid flight are in the manner of Pompeiian bronzes which were normally supported on plinths. The animals depicted are the lion, boar and bull and the Bacchic panther.
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THE BASE:
This extraordinary base cast with the legs in the form of amphorae supported on the feet of a bacchic panther, whose pelt also forms the stretcher remains to date the work of an unidentified bronzier. It continues the bacchic theme of the top and although Benedetto Boschetti (d. 1870) was a Roman bronze-founder who would be capable of such fine work, he was a mosaicist and it seems unlikely that Barberi would resort to a rival rather than employ his own bronzier possibly from the Vatican workshops.
....
The other explanation may be that the stand was cast abroad-either in Russia, as it could have been commissioned following Barberi's second trip to Moscow in 1827 or possibly in Paris. François-Honoré-Georges Jacob (1770-1841) and Georges-Alphonse Jacob-Desmalter (1799-1870) are known to have made stands in bronze for mosaic tops acquired in Italy.
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Michelangelo Barberi (b. Rome 1787, d. 1867)
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He was the foremost micromosaicist in the early 19th century and differed with most of the mosaicists of the period who received their training at the Vatican, as his training was in the secular arts and his brothers were painters and his father Camillo Barberi (1746-1809), was an architect, designer and painter.
....
The Barberi family moved to Paris to live with the Piranesi family, who made and sold prints and the Barberi family returned to Rome during the reign of Pius VII. Camillo left many sketches for decorative objects such a frames, lamps, coffee-pots and goblets in addition to his architectural projects.
.....
This artistic background must have had a profound influnce on Michelangelo Barberi's work. His designs utilise all the neo-classical repetory such as wreaths, putti, Imperial eagles, portrait medallions, and mythological figures and in around 1820 he was apprenticed to the mosaicist Cesare Aguatti and worked at the Vatican workshops.
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He completed in 1823 a table top `Triumph of Love' designed by Felice (Feodor) Antonovich Bruni (Russia 1801-1874), now in the Hermitage, St. Petersburg, which established his reputation which was purchased in 1827, by Czar Nicolas I on Barberi's second trip to Russia which was to prove the start of his long-standing trading relationship with Russia.
.....
Barberi's table tops were in demand by the European nobility from the 1820's onwards, and he set up shop at 148 Via Rasella near Piazza di Spagna, which his daughter Isabella eventually managed. He enjoyed the patronage of the English aristocracy on the Grand Tour and in 1847, he is known to have provided a mosaic top with the arms of the 13th Duke of Norfolk as well as a table for Matthew Boulton at Great Tew.
......
The themes of Barberi's table tops were mainly based on literary subjects and he describes several of them in his publication of 1856; Alcuni mosaici usciti dallo studio del Cav. Michel'Angelo Barberi.
.....
He produced miniature mosaics based on secular and classical literary subjects. He was engaged to train in 1847, four Russian students from the Academy of Art in St. Petersburg and under his tutelage in Rome from 1847-51, they executed two copies of the mosaic floor of the Sala Rotunda of the Vatican.
....
Barberi's table now in the Gilbert Collection, The Beautiful Sky of Italy, won the only Gold Medal awarded to the Papal State in the London Great Exhibition of 1852-4. He also executed a view of the Roman Forum and other views of Rome for the decoration of the mantelpieces and floors in the villa of Prince Demidoff (1813-70) in Florence.
....
He was a member of several academies by 1856, including the renowned Institution of Virtuousos at The Pantheon, and was named Commander of the Order of St. Sylvester by Pius IX.
Sale: L03311 | Location: London, New Bond Street, Auction Dates: Session 1: Wed, 11 Jun 03 10:30 AM, LOT 153, 173,600 GBP
PROVENANCE: Private collection (SDK)
(Formerly Sold as lot 30, Christie's, London, 12th June 1997 for £287,500)

A rare large surtout de table stamped Thomire à Paris

2003-06-11T10:30:00.000-07:00

The d'Avalos - Thomire surtout. The Property of Prince d' Avalos

A rare large surtout de table stamped Thomire à Paris

MEASUREMENTS
78cm. high; 2ft. 6¾in.

..
DESCRIPTION
with a pierced anthemion cast basket supporting nine candle-arms, above three dancing ladies in drapery holding three further young children, the whole raised on a circular base with anthénienne, lyre, floral and laurel swag mounts

Comparative Literature:Hans Ottomeyer/P. Pröschel, Vergoldete Bronzen, Vol. I, Munich, 1986, page 387, fig. 5.16.12, illustrates a surtout with an identically cast basket but lacking candlearms and with a different stem. The dancing maidens received identical treatment but there are no children in the illustrated example now in the Victoria and Albert Museum (M. 135-1929).Juliette Niclausse, Thomire Fondeur-Ciseleur (1751-1843), Paris, 1947, planche 20, illustrates a surtout with a very similarly cast base with the flaming athèniennes.A related example with a vine and grape cast basket but lacking the candelarms and cherubs on a different base but with identical swags, also signed Thomire, was sold at Christie's, New York, as lot 83, 1st November 1995. Many special commissions were placed with Thomire clients could visit his workshop and choose various different pieces to form a centre-piece. This has resulted in many variations of these surtout. Important French & Continental Furniture & Tapestries, Including a Private European Collection
LOT 168 /Sale: L03311 Location: London, New Bond Street Auction Dates: Session 1: Wed, 11 Jun 03 10:30 AM

PROVENANCE: Private collection (SDK)

3D Photograph by Motionproductions.nl

1983-01-01T01:56:00.000-08:00

3D Photograph by Motion Productions

2.5D Photography by Erik Lauritzen

1983-01-01T01:01:00.000-08:00

by Erik Lauritzen

Erik Lauritzen created an incredible assembly on World War II for the set of documents Last Best Hope. In the video it uses photos to create a effect of 2.5D, since with images in 2D it creates a perception of 3D.

Music: "Imogen Heap - Have You Got It In You?"...........

Erik Lauritzen criou uma incrível montagem sobre a Segunda Guerra Mundial para o documentário Last Best Hope. No vídeo ele utiliza fotos para criar um efeito de 2.5D, já que com imagens em 2D ele cria uma percepção de 3D.

19th C High Wheel Bicycle 15690 original hndl bars

1983-01-01T00:29:00.000-08:00

19th C High Wheel Bicycle 15690 original hndl bars

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19th C High Wheel Bicycle DETAIL #1

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19th C High Wheel Bicycle DETAIL #2
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19th C High Wheel Bicycle DETAIL #3

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19th C High Wheel Bicycle DETAIL #4

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19th C High Wheel Bicycle DETAIL #5

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19th C High Wheel Bicycle DETAIL #6

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19th C High Wheel Bicycle DETAIL #7
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19th C High Wheel Bicycle DETAIL #8

Description:

BICYCLE - Late 19th C. high wheel bicycle. Stamped serial number 15690. 52 1/2" DIA front wheel with original handle bars and brakes. All original including leather seat and pedals, hard rubber tires. 59" H x 64" L x 20" W. Good condition. Unrestored with all original components, no missing spokes, torn seat. From a Nobleboro, ME home.

Estimate:$ 4,000 - $ 5,000

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Thomaston Place Auction Galleries

PO Box 30051 Atlantic Highway,

US Rt. 1Thomaston ME, 04861 USA Location

Tel : 207 354 8141

Fax : 207 354 9523

Pace/MacGill Gallery

1976-01-01T12:46:00.000-08:00

Paul Kopeikin Gallery

1976-01-01T12:19:00.000-08:00

http://paulkopeikingallery.com/

Galerie J. Kugel

1975-01-01T13:02:00.000-08:00

http://www.galeriekugel.com/DesktopDefault.aspx?tabid=20&lg=en

Romald Phillips

1975-01-01T09:52:00.000-08:00

http://www.ronaldphillips.co.uk/DesktopDefault.aspx?tabid=19&tabindex=18

Robert bowam

1975-01-01T09:41:00.000-08:00

http://www.robertbowman.com/gallery

H.M. Luther

1975-01-01T09:24:00.000-08:00

http://www.hmluther.com/index.php

Galerie Antoni

1975-01-01T09:00:00.000-08:00

http://www.galerie-antoni.com/presente/nous1.htm

Christopher Hodsoll Ltd

1975-01-01T08:49:00.000-08:00

http://www.hodsoll.com/

Элиta Oбшectвa

1974-02-01T12:39:00.000-07:00

http://www.esj.ru/journal_archive/2005/october/sezd_antikvarnoj/

Art Price

1974-01-01T12:38:00.000-08:00

http://www.artprice.com/

Casas & Gente

1974-01-01T12:37:00.000-08:00

http://www.casasgente.com/

ARTnews

1974-01-01T12:28:00.000-08:00

http://www.artnewsonline.com/home/

Apollo Magazine

1974-01-01T12:12:00.000-08:00

http://www.apollo-magazine.com/

Tajan - Ventes aux enchères

1973-01-01T12:03:00.000-08:00

Hampel Kunstauktionen

1973-01-01T10:11:00.000-08:00

http://www.hampel-auctions.com/

Dorotheum

1973-01-01T09:32:00.000-08:00

http://www.dorotheum.com/