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Click here to subscribeVasenuhr Deutsch, um 1820/30 Holz, schwarz lackiert, vergoldete Bronze. Auf vorderen Kreiselfüßen ein quadratischer, gestufter Sockel für den schildförmigen, seitlich kannelierten Korpus auf Trompetenfuß. Verglastes Zifferblatt Email (Chips). Vergoldete Zeiger. Zapfenbekrönungen. Hakengang. Halbstunden-Schloßscheibenschlagwerk mit Tonfeder. H. 42 cm (Pendelhaken defekt, Sockel ger. Fehlstellen). (59938)
Vasenuhr "C. Marth in Arnswalde" Deutsch, um 1820/30 Holz, schwarz lackiert, vergoldete Bronze. Auf Vierkantfüßen (erg.) ein quadratischer, gestufter Sockel für den schildförmigen Korpus auf Trompetenfuß. Verglastes Zifferblatt Email (besch.) mit zentraler Datumsanzeige und Signatur. Bekrönender Adler. Fadenaufhängung. Sonnenpendel. Hakengang. Stunden-Rechenschlagwerk mit zwei Glocken. Repetition. H. 50,5 cm (Minutenzeiger fehlt). (59938)
Tripod Censer - Duftrauchbrenner, ChinaBronze. Gedrücktes Gefäß auf drei Standbeinen. Seitlich mit aufragenden Henkeln. Xuande Mark-Punze. D. 9,5cm / H. 8 cm Tripod Censer - scented smoke burner, China. Bronze. Pressed vessel on three legs. On the side with protruding handles. Xuande Mark hallmark.
Bofill, Antoine (Barcelona 1875-1939), um 1900Bronze, braun patiniert, signiert und bezeichnet: "Le Dernier d'une Race par A. Bofill Salon des Beaux Arts". Darstellung eines indigenen Einwohner Amerikas zu Pferde, auf naturalistischer Felsenplinthe, Zügel fehlen, sonst gute Erhaltung. H. 44 cm Bofill, Antoine (Barcelona 1875-1939), around 1900. Bronze, brown patina, signed and inscribed: "Le Dernier d'une Race par A. Bofill Salon des Beaux Arts". Depiction of an indigenous inhabitant of America on horseback, on naturalistic rock plinth, reins missing, otherwise in good condition.
Pendule, Stil Louis XV, ca. 1960Holzgehäuse, Edelholz furniert, reiche Blumenintarsien. Bronze(?)applikationen, Goldbronze. Messingzifferblatt mit emaillierten Ziffern, Chip bei Ziffer XII. Mechanisches Werk des Herstellers Franz Hermle & Sohn, Gosheim. Ohne Pendel und Schlüssel. Funktion nicht geprüft. H. 58 cm Pendulum, Louis XV style, ca. 1960. Wooden case, precious wood veneer, rich floral inlays. Bronze(?) applications, gold bronze. Brass dial with enamelled numerals, chip at numeral XII. Mechanical movement by the manufacturer Franz Hermle & Sohn, Gosheim. Without pendulum and key. Function not tested.
Chinesischer Bronzestempel, 20. Jh.Bronze, Silber. Quadratische Form, innen hohl, allseitig mit relieferten Pferdedarstellungen verziert, teilweise Silbereinlage. Guter Erhaltungszustand. 6 x 6 x 10 cm Chinese bronze stamp, 20th century. Bronze, silver. Square form, hollow inside, decorated on all sides with horse depictions, partly silver inlay. Good state of preservation.
Formschönes BronzeschälchenBronze, gegossen, braun patiniert. Wohl um 1900. Am Boden monogrammiert "EY". Japonisierende Schale mit dreifach angerilltem Standboden und leicht glockenförmig aufgehender Wandung. Koppchenform. Lippenrand gephast. D 10,5 cm. Elegant bowl. Bronze, cast and patinated. Pres. around 1900. Bottom with monogram EY. Asian style in cup like form. Margin with carved rim.
Lesende Dame, Wien, um 1910Sog. Chryselephantin-Figur. Wohl von Emil Meier ( geb. 1877 Weckelsdorf, Böhmen). Bronze, patiniert, Kopf in Elfenbein eingesetzt. Sockel Gießermonogramm "AR" (Gießerei Arthur Rubinstein, Wien), Signatur alt getilgt. In Armlehnstuhl niedergelassene junge Frau im historisierenden Gewand, in die Lektüre eines Buches versunken, auf flachem dunklen Marmorsockel montiert, H: Bronze 21 cm, H ges. 23 cm. BITTE BEACHTEN: VERSAND ERFOLGT NUR INNERHALB DER EU - SHIPPING TO THE EU MEMBER COUNTRIES ONLY! Bronce sculpture of a woman reading, with ivory details, foundry monogram "AR" (Arthur Rubinstein, Vienna). Vienna, ca. 1910. Signature at pedestal removed. Marble base. H. incl. base 23 cm
Kleiner Becher, Meissen, um 1712-15Böttgerporzellan, weiß. Nach chinesischem Vorbild. Glockenförmige Schale mit ovalem Querschnitt, Fuß in Form von Astwerk. Auf der Wandung reliefierte Pflaumenzweige nach Art von Irminger. Fuß alt best., zwei Brandrisse im oberen Rand mit Goldbronze rest. Keine Marken, Sammlungs-Nr. "1". H. 5,5 cm. Provenienz: Sammlung Prof. Dr. Dr. G. Sterba. Lit.: Sterba 1988, Tafel 55 ganzseitige Abb. Der Autor verweist auf ein identisches Vergleichsstück in der Porzellansammlung der SKD, vermutl. PE 5087. Dieses datiert Meissen 1725. Ähnlich auch: PE 2787 (Becher, Meissen, 1725/30). Identisches Bechermodell in Böttgersteinzeug siehe Röntgen, Robert: The book of Meissen, 1984,Abb. 99 S. 71. Small porcelain beaker, white, prunus relief. Two hairline cracks restorated with gold bronze. No mark. Collector's number "1". From the Sterba collection. Meissen, ca. 1712-15. H. 5,5 cm
Rasmussen, Otto. 1845 Berlin-nach 1912Weiblicher Akt (Amazone) mit Pferd. Bronze, patiniert, Sockel sign. (Guss) "Otto Rasmussen fec."/ Ghebellin. Lanzenattribut fehlt. Auf Marmorsockel. H. incl. Sockel 33 cm Bronce figure of a female nud with horse (Amazon), signed: Otto Rasmussen. Lance is missing. On marble base. H. incl. base 33 cm
Schreibkassette, wohl Italien, 19. Jh.Bronze (hoher Kupferanteil), patiniert, Bodenplatte Holz, nach paduanischem Vorbild des 16. Jh., allseitig reliefierte Szenen: Medusenhäupter, Nessus und Dejaniera , Medici-Wappen. Textile Innenausstattung in Samt. Schloss defekt. 12 x 24 x 15 cm Gleichartige Kästchen wurden u.a. von der Manifattura di Signa, Florenz, um 1912 angeboten. Writing box, bronce, relief decoration. Italian, probably 19th ct. Coat of arms of the Medici family. Maybe by Manifattura die Signa, Florence. 12 x 24 x 15 cm
Pistole, balkantürkisch, 19./ 20. Jh.Dekoratives Stück, Bronze/ Messing gegossen, ziseliert, wohl Abguss von einer alten Original-Feuerwaffe. Schloss in Einzelteilen beigegeben. Nicht funktionsfähig. L. 49,5 cm Pistol, Balkans/ Turkey, bronze/ brass, cast, probably replica. Not workable. L. 49,5 cm
Kleine Pendule im Stil Louis XV, 2. H. 19. Jh.Gehäuse Holz, Front in Maserholz furniert, Bronzeapplikationen. Messingzifferblatt ornamental ziseliert, Birnenzeiger, Pendelwerk, Marke Lenzkirch (Schramberg, Schwarzwald), Seriennr. "887278" auf Platine. Federpendel. Funktion nicht zugesichert, kein Schlüssel. H. 31,5 cm Small mantel clock , Louis XV-style, wooden case with bronze applications, pendulum movement. No proof of function, no key. Stamp mark Lenkirch/ Schramberg/ Black forest, serial no. 887278. H. 31,5 cm
A RARE ITALIAN PORPHYRY MODEL OF A WINE BARREL ON STAND IN THE MANNER OF BENEDETTO BOSCHETTI OR GIACOMO RAFFAELLI, MID-19TH CENTURY the barrel carved from Egyptian Imperial red porphyry with ribbed decoration and incised lines to simulate staved construction, with a gilt bronze stopper engraved with the Visconti family coat of arms, with a tap with a dolphin handle and a beast spout, the porphyry and gilt bronze stand with ram supports, engraved with an inscription 'Ioannes Card Visconti' and 'Milano Anno 1340' 32.4cm high,16.5cm wide, 46.5cm long Provenance Lionel de Rothschild (1882-1942) Edmund de Rothschild (1916-2009) The Trustees of Exbury House Catalogue Note The term porphyry is from the Ancient Greek 'porphyra' meaning purple. In antiquity purple was the colour of royalty and combined with its hardness Egyptian porphyry became very much prized for monuments and building projects in Imperial Rome and thereafter. Giovanni Visconti (c.1290-1354) was an Italian Roman Catholic cardinal who was co-ruler of Milan and Pavia. The present lot is possibly a commemorative piece celebrating 500 years of the Visconti family in 1840. We would like to thank Dario Del Bufalo for his assistance and advice in cataloguing this lot.
A RARE BRONZE BUST OF QUEEN MARY WHEN DUCHESS OF YORK BY WILLIAM HENRY TYLER (1852-1906) with a dark brown patination, signed 'Will Tyler' and dated '1893' with the foundry mark 'Cie Des Bronzes, Bruxelles', on a green speckled marble column incised 'May' 33cm high overall Provenance Alfred de Rothschild (1842-1918) Halton House, Buckinghamshire Lionel de Rothschild (1882-1942) Edmund de Rothschild (1916-2009) The Trustees of Exbury House Catalogue Note This bronze bust of the future Queen Mary was made on the year of her marriage to George, Duke of York in 1893. She became Queen consort when her husband ascended the throne as King George V in 1910. 'May' was Queen Mary's informal name used amongst family members. See the Royal Collection Trust inv. no. RCIN54057 for another example. William Henry Tyler was born in Worcester and studied at the Royal Academy Schools and exhibited 15 times in the Royal Academy of Arts (Summer Exhibition). His studio was located at 26 Hereford Square, London.
'THE ROTHSCHILD MILANESE ARMOURER'S CABINET' A RARE NORTH ITALIAN DAMASCENED STEEL AND GILT BRONZE ARMOURER'S TABLE CABINET IN THE MANNER OF THE WORKSHOP OF GIOVANNI BATTISTA PANZERI, MILAN, THE PLAQUES LATE 16TH / EARLY 17TH CENTURY, THE CABINET 19TH CENTURY fitted with eleven drawers around a central cupboard hinged door, decorated in relief with scenes from Roman history before cityscapes, with swags of fruit and leaves, soldiers, satyr masks, war trophies and term figures, the cupboard with the story of Gaius Mucius Scaevola, revealing a gilt lined vacant interior, the cabinet with a pierced scrolling leaf silver gilt border and green damask velvet panels, on sphinx supports, on an associated and later French 'Japonisme' stand (2) cabinet: 42.5cm high, 59.8cm wide, 35.5cm deep the stand: 80.8cm high, 65.7cm wide, 42.5cm deep Provenance Alfred de Rothschild (1842-1918) the Red Room at Halton House, Buckinghamshire Lionel de Rothschild (1882-1942) Edmund de Rothschild (1916-2009) The Trustees of Exbury House Literature Rothschild Archive, London, Manuscript: 000/174/C/3, Christie, Manson & Woods Probate Valuation of 'The Estate of Alfred C. de Rothschild, Esq. C.V.O. Deceased, Halton House Tring', 1918. Listed as 'An Italian cabinet with architectural front, overlaid with steel plaques chiselled with classical warriors and partly damascened with gold, Milanese, 16th Century, on stand, £300.0.0.' Catalogue Note In Milan during the second half of the 16th century skilled craftsmen who produced damascened armour and weapons for noble patrons began to expand their production into furniture. Creating mainly cabinets with drawers, some of architectural form but also tables, mirrors, picture frames and tabernacles tailored to the tastes of wealthy patrons desiring one-of-a-kind masterworks epitomizing luxury. These objects made by the Milanese armourers were decorated with steel or iron plaquettes, embossed and damascened with gold and silver, depicting subjects inspired by Roman history or mythology. Sometimes they were embellished with small sculptures. One of the prominent makers to capitalise on this luxury market was Giovanni Battista Panzeri, called Zarabaglia, who also specialised in devotional objects. His masterpiece is arguably the reliquary tabernacle in the form of a church, made for Spain's El Escorial, kept in its Monastery of San Lorenzo. For comparisons to our present cabinet, see the Victoria & Albert Museum for a cabinet with very similar panels and subject matter gifted by Dr. Hildburgh, accession no. M.22:1-1952, dated to 1550-1600. In the Waddesdon Bequest at the British Museum there is an architectural cabinet formerly belonging to Alfred's cousin Baron Ferdinand de Rothschild, reg. no. WB.16. See also three cabinets in the Museo Poldi Pezzoli and a wiring cabinet in the Philadelphia Museum of Art, accession no. 1930-1-187. Literature For a discussion of these cabinets, see Silvio Leydi, Mobili Milanesi in acciaio e metalli preziosi nell'eta del Manierismo, in Fatto in Italia. Dal Medioevo al Made in Italy, ed. by Alessandra Guerrini, with Barbara Brondi and Marco Raino. Catalogue of the exhibition at Reggia di Venaria, 19th March - 10th July 2016. The Iconography The central panel depicts Gaius Mucius Scaevola in front of the Etruscan king, Lars Porsena. Scaevola, a young Roman, formed a plan to save Rome from the intruder Etruscan army by assassinating their king but he mistakenly killed the king's secretary. When Scaevola was captured, he bravely declared "I am Gaius Mucius, a citizen of Rome. I came here as an enemy to kill my enemy, and I am as ready to die as I am to kill. We Romans act bravely and, when adversity strikes, we suffer bravely." Scaevola then thrust his right hand in a fire to prove he meant his words. Lars Porsena was so impressed by his actions that he allowed Scaevola to leave and soon after sought to make a treaty with Rome. Some panels surrounding this legendary scene are also connected to the siege of Rome, depicting Roman heroes standing up to the Etruscan king: bottom left showing Horatius Cocles who, first accompanied by two fellow soldiers, but eventually singlehandedly held off the advancing army at the foot of the bridge over the Tiber. The panel above shows a female figure, standing in front of the king on horseback. The female is probably Cloelia who escaped from the Etruscan camp and led away a group of Roman virgins. Cloelia later voluntarily returned to Lars Porsena who then praised her for her heroism and allowed her to walk away again with half of the Roman hostages. And the bottom right panel depicts the ultimate sacrifice of a Roman hero with the story of Marcus Curtius: when a bottomless chasm mysteriously opened on the Forum, the augur declared it will not close until the most precious possession of Rome was sacrificed. Curtius responded that the the soldiers' courage and arms were what made Rome exceptional, before, on horseback and fully armed, he threw himself into the pit which then promptly disappeared. These panels are consistent with the Renaissance period which saw a shift towards more historic and Biblical themes. A return was made to classical Greek and Roman ethos of society and this also appeared on furniture. Many pieces showcased intricate artwork depicting historic scenes. Similar trends can be observed on parade armour created in the 16th and 17th century for the high nobility.
A FRENCH ORMOLU MANTEL CLOCK IN LOUIS XV STYLE, 19TH CENTURY the brass drum movement with an outside countwheel and anchor escapement, the backplate stamped 'S Marti at Ci / Medaille de Bronze', striking the half hours on a bell, on a five and three quarter inch enamelled dial inscribed 'Gudin Paris', with Roman hour and Arabic minute numerals, the Rococo case surmounted by a cherub and peacock amongst clouds above flowering foliage, reticulated panels with blue silk backing, bagpipes and a scrolling base, with keys and pendulum 51cm high, 31cm wide, 21cm deep Provenance Alfred de Rothschild (1842-1918) the Ante-Chamber to the Central Hall / Salon, Halton House, Buckinghamshire Lionel de Rothschild (1882-1942) Edmund de Rothschild (1916-2009) The Trustees of Exbury House
'THE ROTHSCHILD RAFFAELLI MOSAIC TABLE' AN IMPORTANT ITALIAN MICROMOSAIC AND SIENA MARBLE CENTRE TABLE ATTRIBUTED TO GIACOMO RAFFAELLI AND HIS WORKSHOP, ROME OR MILAN, C.1800-10 the circular top finely inlaid with an outer laurel wreath and a band of rinceaux decoration of scrolling leaves and stylised flowers on a white ground, with an inner border of a ribbon spiralling around a vine with leaves and morning glory flowers, the centre with quarter veneered Egyptian alabaster and a lapis lazuli rondel, the revolving top with a gilt bronze band with engine turned decoration, on a Siena marble base, the stem carved with acanthus leaves, the triform plinth carved with further leaves and fluting with a band of ribbon tied laurel leaves 93.3cm high, 95.8cm diameter Provenance Alfred de Rothschild (1842-1918) the Winter Garden at Halton House, Buckinghamshire Lionel de Rothschild (1882-1942) Edmund de Rothschild (1916-2009) The Trustees of Exbury House Literature Rothschild Archive, London, Manuscript: 000/174/C/3,, Christie, Manson & Woods Probate Valuation of 'The Estate of Alfred C. de Rothschild, Esq. C.V.O. Deceased, Halton House Tring', 1918. Listed as 'An Italian circular table, with mosaic top on giallo marble tripod carved with acanthus foliage, £80.0.0.' Catalogue Note Giacomo Raffaelli (1753-1836) was born in Rome and his family were involved in the mosaic industry providing smalti to the Vatican Mosaic Workshop, the material which mosaics are made of. Giacomo studied painting and sculpture at an early age. He became one of the most celebrated artists in hardstones and mosaics and is credited with the invention of micromosaics in about 1775. He was patronised by Pope Pius XV and worked in both the Vatican workshops as well as from his own studio in Piazza di Spagna. Raffaelli executed a wide variety of objects and furnishings and attained international fame that culminated in 1787 when he was awarded the title 'Councillor of Liberal Arts' by Stanislaus II Augustus, King of Poland. In Rome, he had workshops on the Salita di San Sebastianello and later in Vita del Balbuino. Following the French occupation of Rome in 1797 and the collapse of the local mosaic market he moved to Milan to direct a mosaic workshop and school. This had been founded at Napoleon's orders by Eugene de Beauharnais (Napoleon's stepson) who became Viceroy of Italy in 1805. During the Milan period he executed the monumental Last Supper based on a copy by Giuseppe Bossi. He also produced a fireplace and clock that were said to have been presented to Napoleon as gifts from Pius VII and later housed at Malmaison. He returned to Rome around 1817-20 to his home at 92 Via Babuino (which was designed by the Neo-classical architect Giuseppe Valadier) where he passed away in 1936. Raffaelli's output was considerable. Some of his most important commissions were for the Polish court, including a portrait of the King's brother Prince Michael Poniatowski, Bishop of Poland. He also supplied a pair of specimen marble centre tables to Sir Clifford Constable, for Burton Constable (now in Temple Newsam) and the impressive 'Centrepiece of the Viceroy', probably made for Eugene de Beuharnais (displayed in the Villa Carlotta, Cadenabbia). The Attribution Giacomo Raffaelli is considered the only master of both hardstones and micromosaics. The use of both media in our table point to his manufacture. We can observe various techniques in the making of the mosaic table which also points to Raffaelli. For instance, the inner ribbon band uses both oval and rectilinear tesserae in a naturalistic floral pattern which is evident in his other tables. Other trademark techniques are also evident, including horizontal rows of background tesserae, the outlining of leaves with a single row of tesserae and meticulous execution. The use of rinceaux was a popular motif in tables made at the end of the 18th century by Raffaelli and his contemporaries, for example the pair of tables supplied by Pompeo Savini to the Polish Court at Castello Reale, Warsaw and the pair of tables by Andrea and Michelangelo Volpini at Syon House. Two circular table tops using a band of rinceaux on a white ground are attributed to the studio of Raffaelli di San Sebastianello and they are illustrated in 'Giacomo Raffaelli (1753-1836) Maestro di Stile e di Mosaico' by Anna Maria Massinelli pp.262-263, fig.302 and 303. One in a private collection, the other in the Museo Civici in Bologna. Napoleon and Roman Micromosaics Napoleon and his wife Josephine were avid collectors of micromosaic works of art evidenced by the gift of a pair of vases and a clock by Pope Pius VII on his coronation in Paris in 1804. Following the Napoleonic occupation in Rome between 1808-1814 the Vatican workshops became directly responsible to the Imperial Crown and were commissioned to furnish Napoleon's apartments at the Palazzo Quirinale in Rome. The symbolism employed on our table points to the Napoleonic style, in particular the use of a laurel wreath on the top, also the laurel and acanthus on the wonderful marble base and finally the impressive gilt bronze edge. It is interesting to speculate whether this table was made during Raffaelli's period in Milan possibly as a commission by the Napoleonic Court. We would like to thank Dr Jeanette Gabriel for her help in cataloguing this present lot. For recent auction sales of micromosaic tables attributed to Giacomo Raffaelli, see Christie's, Julians Park, Hertfordshire, 8th June 2021, lot 30 which was inlaid with birds, butterflies and grapes and sold for £100,000. Also Sotheby's, New York, 19th century Furniture and Decorative Arts, 15th October 2015, lot 25 for a rectangular table inlaid with rinceaux and a central oval panel of the Doves of Pliny, $181,250, Christie's, Amsterdam, The Decorative Arts Sale, 22nd September 2010, lot 441 EUR 217,000 for an oval table decorated with goldfinch and Brunk Auctions, Asheville, 6th September 2003, lot 260, the micromosaic top on a painted wood base by Thomas Hope, $400,000. Comparative Literature Jeanette Hanisee Gabriel, Micromosaics in Private Collections. Jeanette Hanisee Gabriel, The Gilbert Collection, Micromosaics. Anna Maria Massinelli, Giacomo Raffaelli (1753-1836) Maestro di stile e di mosaico. E. M. Efimova, West European Mosaics of the 13th-19th centuries in the Collection of the Hermitage.
'THE BARON LIONEL DE ROTHSCHILD CANDELABRA' A PAIR OF FRENCH LOUIS XVI ORMOLU AND PATINATED BRONZE FIGURAL CANDELABRA AFTER THE MODEL BY PHILLIPPE CAFFIERI, LATE 18TH CENTURY each modelled with a cherub seated on a rock, one holding his hands aloft, the other blowing a shell, issuing three acanthus wrapped branches with fluted vase shaped nozzles decorated with stiff leaves, the stepped base with fluted, guilloche and leaf decoration, later drilled and fitted for electricity, with faux candles and shades (8) 45.8cm high (excluding fittings) Provenance Baron Lionel de Rothschild (1808-1879) at 148 Piccadilly, London Alfred de Rothschild (1842-1918) the Central Hall / Salon, Halton House, Buckinghamshire Lionel de Rothschild (1882-1942) Edmund de Rothschild (1916-2009) The Trustees of Exbury House Literature Rothschild Archive, London, Manuscript 000/176/11, 'The Division of the property of the late Baron Lionel de Rothschild between Sir Nathaniel de Rothschild, Leopold de Rothschild, Esq., and Alfred de Rothschild, Esq., 1881'. Listed as 'A pair of fine small Louis XVI bronze three light candelabra' and recorded as going to Alfred. Rothschild Archive, London, Manuscript: 000/174/C/3, Christie, Manson & Woods Probate Valuation of 'The Estate of Alfred C. de Rothschild, Esq. C.V.O. Deceased, Halton House Tring'. 1918. Listed as 'A pair of Louis XVI, candelabra, with bronze figures of boys playing conch shells and supporting ormolu branches, for three lights each. ' Charles Davis,' A Description of the Works of Art forming the collection of Alfred de Rothschild', 1884, p. 228, no. 244, listed as 'A pair of three-light candelabra, of the period of Louis XVI, each is formed by a bronze figure of a kneeling boy blowing a trumpet and supporting the branches, which are chased metal, and designed as foliated scrolls. The stands are square, and each has a hollow border enriched with a bead moulding'. Catalogue Note Although the design of candelabra has traditionally been attributed to Philippe Caffieri (1714-1774) with the rights to their production held by Simon-Phillippe Poirier and his business partner Dominique Daguerre, the putti themselves have a longer history with an attribution to Alessandro Algardi (1595-1654) and his circle, a pair of which are now held in the Wallace Collection having been acquired by the 4th Marquess of Hertford. This attribution by the Wallace Collection is further enhanced by Jennifer Montague in her publications on Algardi (1985) and Bronzes in the Wallace Collection (2002). Poirier delivered a pair of candelabra incorporating porcelain figures among three gilt bronze branches, to Madame du Barry in 1770. It was soon after this date that the design appears to have gained popularity amongst the English Gentry with examples appearing in inventories of country house collections from the early 19th century. In recent years, closely related examples have appeared at auction, see Christie's Lord St Helens and Sir William Fitzherbert, 22nd January 2009, lot 541 and Christie's, The Gothick Pavilion, Byron to Beaton, 9th December 2010, lot 111.
A PAIR OF FRENCH ORMOLU AND PATINATED BRONZE FIGURAL CANDELABRA AFTER THE MODEL BY PHILLIPPE CAFFIERI, 2ND HALF 19TH CENTURY each modelled with a cherub seated on a rock, one holding his hands aloft, the other blowing a shell, issuing three acanthus wrapped branches with fluted vase shaped nozzles decorated with stiff leaves, the stepped base with fluted, guilloche and leaf decoration, later drilled and fitted for electricity, with faux candles and shades (8) 46.4cm high (excluding fittings) Provenance Alfred de Rothschild (1842-1918) the Central Hall / Salon, Halton House, Buckinghamshire Lionel de Rothschild (1882-1942) Edmund de Rothschild (1916-2009) The Trustees of Exbury House See lot 91 for a discussion of these candelabra.
A GILT BRONZE, GLASS AND ROCK CRYSTAL CHANDELIER BY FARADAY & SONS, LATE 19TH / EARLY 20TH CENTURY with a baluster and faceted stem decorated with leaf appliques, issuing ten scrolling leaf branches with fluted nozzles, hung overall with faceted beads, lustres, ball and pear shaped drops, stamped 'F&S' and '14', later fitted for electricity 118cm high, 91.5cm wide Provenance Alfred de Rothschild (1842-1918) Halton House, Buckinghamshire Lionel de Rothschild (1882-1942) Edmund de Rothschild (1916-2009) The Trustees of Exbury House Catalogue Note Faraday & Sons were founded by Robert Faraday, older brother of the famous scientist Michael Faraday. The firm was based in Wardour Street, London. They were acquired by F. & C. Osler in 1919.
'THE ROTHSCHILD CHEVAUX MARINS CHENETS' A RARE PAIR OF LOUIS XV ORMOLU SEAHORSE CHENETS, CHEVAUX MARINS FRENCH OR GERMAN, C.1745-50 each surmounted with a prancing horse with webbed hooves, on a Rococo scrolling leaf base, with chased and punched decoration, stamped '2', with a bronze scroll support (2) 43.5cm high, 35.3cm wide Provenance Alfred de Rothschild (1842-1918) the Central Hall / Salon, Halton House, Buckinghamshire Lionel de Rothschild (1882-1942) Edmund de Rothschild (1916-2009) The Trustees of Exbury House Catalogue Note This wonderful pair of sculptural chenets derive from a drawing attributed to Lambert-Sigisbert Adam (1700-1759) for a chenet designed with Triton astride a sea horse. Chenets incorporating 'chevaux marins' are recorded in the inventory at the chateau of Passy which belonged to A-G Bernard de Saint-Saire, the grandson of Samuel Bernard, Louis XVI's banker. Listed as 'a high-firing copper representing a mythical sea horse leaning on ornaments ... all gilded with ormolu'. Other examples can be found in the Kunsthistoriches Museum, Vienna, in the collection of the Dukes of Buccleuch and Queensberry at Boughton House, Northamptonshire, a pair formerly in the collection of Dr. Anton C. R. Dreesman, sold at Christie's, 10th April 2002, lot 250 for £91,750 and a pair formerly in the Riahi Collection sold at Christie's, 6th December 2012, lot 6, for £109.250. A further pair of chenets with the same base but lacking the horses is at Waddesdon Manor, Buckinghamshire, see The James A. de Rothschild Collection at Waddesdon Manor, vol. II, Furniture, pp.726-7, no.184. Our chenets share the same pounced decoration as the Waddesdon and Riahi pairs.
A FRENCH LOUIS XV ORMOLU AND PATINATED BRONZE ELEPHANT MANTEL CLOCK AFTER A DESIGN BY JACQUES AND PHILIPPE CAFFIERI, MID-18TH CENTURY AND LATER the brass drum movement with an outside countwheel striking on a bell, the five and a quarter inch enamelled dial with Roman hour numerals inside Arabic minute numerals to the quarters, in a chinoiserie case surmounted with a Chinaman holding a spear, with foliate swags to either side and convex glazing to the front and back, mounted on the back of an elephant standing four square with its trunk raised, on a naturalistic base with scrolling feet, with key and pendulum 46.5cm high, 38cm wide, 17cm deep Provenance Alfred de Rothschild (1842-1918) Bedroom no.7, Halton House, Buckinghamshire Lionel de Rothschild (1882-1942) Edmund de Rothschild (1916-2009) The Trustees of Exbury House Literature Rothschild Archive, London, Manuscript: 000/174/C/3, Christie, Manson & Woods Probate Valuation of 'The Estate of Alfred C. de Rothschild, Esq. C.V.O. Deceased, Halton House Tring'. 1918. Listed as 'A clock in ormolu case, supported by a figure of an elephant, £15.0.0.' Catalogue note The 18th century was a period of great exploration and the discoveries made were often reflected in the decorative arts of the period. This was especially true in France during the reign of Louis XV where the skills of the master clockmakers, ebenistes, bronziers and ceramicists were often combined to create fantastical objects such as the clock being offered here. The animals used in the creations varied widely and eventually included elephants, rhinoceroses and ostriches, as well as the more recognisable bulls and wild boars. The earliest examples of these exotic clocks date to the mid-1740s but their popularity reached its zenith in the 1750s and lasted to the early 1760s. The modelling of the elephant used in this clock is likely to have its origins in the Japanese Kakiemon porcelain models of the late 17th century such as those that can be seen at Burghley House in Lincolnshire (Porcelain from Palaces, Exhibition Catalogue, British Museum, 6 July - 4 November 1990, p.178, no.160), and others were found across the European Courts. A prominent maker of clock cases was Joseph de Saint-Germain (maitre in 1750). He was one of the most celebrated bronziers of his age and championed the Rococo style. See H. Ottomeyer / P. Proschel, Vergoldete Bronzen, p.123. pl.2.8.3., for an elephant clock by Saint-Germain very similar to our clock. A related clock formerly in the Jones Collection can be found in the Victoria & Albert Museum, accession number: 1008:1-1882.
'THE ROTHSCHILD LAPIS LAZULI TAZZE' A PAIR OF FRENCH ORMOLU AND LAPIS LAZULI FIGURALTAZZE THE LAPIS BOWLS EARLY 17TH CENTURY, THE FIGURES IN THE MANNER OF CLODION LATE 18TH / 19TH CENTURY in the form of a satyr and a Bacchante, both with grapevines in their hair, he with a horn and she with a tambourine and an ewer, each supporting a carved lapis lazuli stylized scallop shell shaped bowl, the Bacchante stamped with an inventory number '5236' (2) 36.3cm high, 15.2cm wide (max) Provenance Alfred de Rothschild (1842-1918) the Bronzina Room, Halton House, Buckinghamshire Lionel de Rothschild (1882-1942) Edmund de Rothschild (1916-2009) The Trustees of Exbury House Literature Rothschild Archive, London, Manuscript: 000/174/C/3, Christie, Manson & Woods Probate Valuation of 'The Estate of Alfred C. de Rothschild, Esq. C.V.O. Deceased, Halton House Tring'. 1918. Listed as 'A pair of bronze gilt figures, of a satyr and bacchante, supporting on their heads shell shaped dishes of lapis lazuli, £35.0.0.' Catalogue Note These impressive lapis lazuli bowls, mounted with ormolu figural stands, follow in the grand tradition of objects made of hardstones for the courts of Europe. Lapis lazuli, is a metamorphic rock of deep-ultramarine colour, mainly composed of lazulite with golden pyrite. Lapis is the Latin word for stone and lazuli from the Medieval Latin, lazulum, which was taken from Arabic and Persian meaning 'sky' or 'heaven', so 'stone of the sky'. It has been prized since antiquity for its intense colour. As early as the 7th millennium BC, lapis lazuli was mined in the Sar-i Sang and other mines in Afghanistan. By the end of the Middle Ages lapis lazuli began to be exported to Europe where it was ground into powder and made into ultramarine blue pigment used by some of th most important painters of the Renaissance including: Masaccio, Titian and Vermeer. Pliny the Elder wrote that lapis lazuli is 'opaque and sprinkled with specks of gold'. Because the stone combines the blue of the heavens and golden glitter of the sun it was emblematic of of success in old Jewish tradition. It was used by Renaissance and Mannerist craftsmen for ornamental vases, for example the 'Lorenzo Vase' in the Museo degli Argenti made by Bernardo Buontalenti and Giovanni Biliverta. For comparable shell shaped bowls or coupes, see the Kunsthistoriches Museum, Vienna, inv. no. Kunstkammer, 1617, the Musee de Louvre, Paris, inv. no. MR270 and the Museo degli Argent, Palazzo Pitti, Florence.
A PAIR OF FRENCH ORMOLU AND SWEDISH GREEN PORPHYRY BRULE-PARFUMS IN LOUIS XVI STYLE AFTER A MODEL BY FRANCOIS-JOSEPH BELANGER (1744-1818) AND PIERRE GOUTHIERE (1732-1813) , C.1830 each decorated with a grapevine, with a domed cover with a pierced frieze, above satyr monopodia supports centred by an entwined serpent, on a circular base (2) 46.7cm high Provenance Alfred de Rothschild (1842-1918) the Red Room at Halton House, Buckinghamshire Lionel de Rothschild (1882-1942) Edmund de Rothschild (1916-2009) The Trustees of Exbury House Catalogue Note This model is based on the celebrated ormolu mounted jasper vase recorded in the sale catalogue of Louis-Marie-Augustin, Duc d'Aumont, of the 12th December 1782, which is now in the Wallace Collection. The Duc d'Aumont was the First Gentleman of the King's Bedchamber and commissioned his architect, Belanger, to design many of the fixtures and fittings for his houses. These incorporated hardstones and porcelains, many of which were mounted in gilt bronze, often by Gouthiere. The design of the jasper vase and hence the brule-parfums is thought to be based on a marble bas-relief at the entrance to the Cesi Chapel in the Church of Santa Maria della Pace in Rome. In the 18th century, it was believed that the chapel was designed by Michelangelo and as such was a building frequently studied, drawn and referenced in designs. Swedish or Dala porphyry was mined at Alvdalen, around 350km north of Stockholm, and was discovered by a vicar in around 1730. Excavations at a commercial scale, however, didn't start until later in the 18th century at a period when the Antique, as a source of artistic inspiration, was on the rise. It was known that Egyptian porphyry was much prized in ancient Rome where it was seen as a symbol of power and hence was in great demand in the 18th century. However, the shortage in supply of porphyry to satiate the fashion of the times led to a search for alternative supplies which coincided with the discovery of porphyry in Alvdalen and the establishment of an industry in the 1790's. One of these fine brule-parfums can be seen in the photograph of Alfred's Red Room, it sits on a French cabinet below the Geroge Romney portrait of Lady Hamilton.
λ AN ITALIAN BAROQUE EBONY AND TORTOISESHELL CABINET ON LATER STAND LATE 17TH CENTURY inlaid with brass stringing and fitted with an arrangement of eight drawers, with ebonised ripple mouldings and grotesque mask handles, around a conforming hinged fall with gilt bronze mounts revealing six further drawers, on a later ebonised stand cabinet: 46.3cm high, 75.5cm wide, 27.3cm deep overall: 119.5cm high, 81.8cm wide, 31.2cm deep Provenance Edmund de Rothschild (1916-2009) The Trustees of Exbury House
A SET OF THREE POLISHED STEEL AND GILT BRONZE FIRE IRONS EARLY 19TH CENTURY the shafts with spiral decoration, the handles with lobed and scrolling foliate knops, the spade with pierced rondel and trellis decoration (3) 75.5cm (max) Provenance Alfred de Rothschild (1842-1918) Halton House, Buckinghamshire Lionel de Rothschild (1882-1942) Edmund de Rothschild (1916-2009) The Trustees of Exbury House
A PAIR OF FRENCH ORMOLU AND PATINATED BRONZE FIGURAL CANDELABRA AFTER THE MODEL BY PHILLIPPE CAFFIERI, 2ND HALF 19TH CENTURY each modelled with a cherub seated on a rock, one holding his hands aloft, the other blowing a shell, issuing three acanthus wrapped branches with fluted vase shaped nozzles decorated with stiff leaves, the stepped base with fluted, guilloche and leaf decoration, later drilled and fitted for electricity, with faux candles and shades (8) 46cm high (excluding fittings) Provenance Alfred de Rothschild (1842-1918) the Central Hall / Salon, Halton House, Buckinghamshire Lionel de Rothschild (1882-1942) Edmund de Rothschild (1916-2009) The Trustees of Exbury House See lot 91 for a discussion of these candelabra.
First World War - a group of British WWI medals to include British War medal, Victory medal and 1914-15 Star awarded to 9346 PTE F.W. SPRINGELL OXF & BUCKS L.I. along with a French Croix de Guerre 1914-1917 issue with bronze star, a Death plaque inscribed Walter Stanley Collins, Grenader Guards lapel badge and brooch, mixed military issue books to include Signally, Musketing Training and Cavalry Training 1912 (1916), mixed WWI silk and other greeting cards and a Great War commemorative cup
A pair of modern painted bronze figure groups "The No. 1 Bronze Chariot of Emperor Qin Shi Huang's Mausoleum", approx 80 cm long and "The No. 2 Bronze Chariot of Emperor Qin Shi Huang's Mausoleum", approx 70 cm long, being chariots pulled by four horses (copies of the bronze chariots found in the 1980's in the archaeological complex of the First Emperor of Qin, one being the vehicle used to transport the Emperor's body to Xiang Yang for burial
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