GROSSE PENDULE AUF SOCKEL MIT CARILLON UND BOULLE-MARKETERIELouis XV, Bern um 1750. Das Zifferblatt auf Plakette signiert Funck à Berne (Mathäus Funk 1697 – 1783).Geschweiftes Gehäuse reich intarsiert mit graviertem Messing auf rotem Schildpatt in Form von Blatt- und Blumenranken. Reiche vergoldete Bronzebeschläge in Form von Espagnoletten, Putto, Blättern, Rocaillen sowie Cupido als Aufsatz. Reliefiertes Bronzezifferblatt mit weissen Emailkartuschen (zwei leicht defekt) mit römischen Stunden- und arabischen Minutenzahlen. Werk mit Spindelgang und Viertelstundenschlag auf zwei Glocken sowie Carillon mit sechs Glocken. Repetition auf Anfrage. 2 Schlüssel.52 × 23 × 137 cm.Etwas zu restaurieren, das Werk zu revidieren.Provenienz: - Familie von Wattenwyl- Besitz von Friedrich von Tscharner (durch Erbfolge)- durch Erbfolge in heutigen BesitzEine Pendule des gleichen Modells wurde von Mathäus Funk in die Deutschseckelschreiberei im Rathaus in Bern geliefert. (Hermann von Fischer, Fonck à Berne, Bern 2001. S. 117, Nr. 211. Mit Abbildung). Mathäus Funk stellte in der Zeit um 1750 verschiedene Pendulen mit Boulle- und Contre-Boullemarketerie her, darunter die Rathaus-Pendule von 1753, deren Türbronze vom Berner Stadtwappen ziert. Das Uhrwerk dieser Pendule ist wie auch das in der hier vorgestellten Uhr nicht signiert, weist aber die für Berner Werke der damaligen Zeit typischen Merkmale auf. Mathäus Funks Sohn Daniel war Uhrmacher, die Vermutung, dass das Werk aus dessen Werkstatt stammt, ist in Betracht zu ziehen, kann jedoch nicht belegt werden. Hermann von Fischer zitiert in seinem Werk über Funk eine Notiz in den Unterlagen Funks, die auf die damalige Bestellung hinweisen könnte: "Johanne Margaretha von Wattenwyl, geborene von Graffenried (1695 – 1750), Gemahlin des Niklaus von Wattenwyl, Herr zu Oberdiessbach (1695 – 1751), notierte in ihrem Rechnungsbuch am 4. Mai 1748: Däm Her Funck lut gunten (Laut Konto) für Ein bandülengehüs und ein tabackkistlin 19 kronen 15 Batzen". (Hermann von Fischer, 2001. S. 54) LARGE PENDULE ON PLINTH WITH CARILLON AND BOULLE MARQUETRYLouis XV, Berne ca. 1750. The dial signed on plate: Funck à Berne (Mathäus Funk 1697 – 1783).Curved case, opulently inlaid with engraved brass on red tortoise shell. Opulent gilt bronze mounts. Bronze dial with white enamel cartouches (2 slightly defective). Movement with verge escapement, striking the 1/4-hour on two bells, and carillon with six bells. Repetition on demand. 2 keys.52 × 23 × 137 cm.Requires some restoration. Movement requires revision.Provenance: - Von Wattenwyl family.- Friedrich von Tscharner (by succession).- By succession, in the possession of the present owner.A clock of the same model, by Mathäus Funk, was delivered to the "Deutschseckelschreiberei" in the Town Hall in Berne. (Hermann von Fischer, Fonck à Berne, Berne, 2001. p. 117, no. 211. With illustration).
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ROKOKO KOMMODEBern um 1750/55. Von Matthäus Funk (1697 – 1783).Nussbaum und Nussbaummaser eingelegt in rechteckigen Reserven. Leicht trapezförmiger, dreiseitig gebauchter Korpus auf ausgeschnittener Zarge und geschweiften Beinen mit Bronzesabots. Front mit zwei Schubladen, die obere ohne Traverse. Die Schubladenfronten mit Messingkanneluren versehen. Vergoldete Bronzebeschläge (später) in Form von Rocaillen, Blumen, Blättern und Muscheln. Blatt wohl Marbre de Belpberg. Die Schubladen teils mit originalem Kleisterpapier, überdeckt von mit grüner Seide bezogenem Karton. 1 Schlüssel.101 × 60 × 87 cm.Guter restaurierter Zustand. Bronzebeschläge später, nach Vorlagen von Funk. Die Schlösser später und versetzt.Elegante Kommode mit feinem Furnierbild in sehr gutem, restaurierten Zustand. Die Kommode entspricht in der Systematik von Hermann von Fischer dem Typ G4. Eine sehr ähnliche Kommode ist abgebildet unter Nummer 160 und wird datiert auf die Jahre 1750/55. (Hermann von Fischer, Fonck a Berne, Bern 2001. S. 99). Bis auf die Schlüsselschilder weist diese Kommode die identischen Bronzemonturen auf. Die Modelle der Schlüsselschilder finden sich jedoch auf anderen Arbeiten des Ebenisten. ROCOCO COMMODEBerne ca. 1750/55. By Matthäus Funk (1697 – 1783).Walnut and walnut burlwood, inlaid in rectangular reserves. Convex body on curved legs with bronze sabots. Front with three drawers, the upper drawer sans-traverse. The front of the drawers, decorated with brass fluting. Gilt bronze mounts (later), designed as rocailles, flowers, leaves and shells. Marble top, probably "Marbre de Belpberg". The drawers, in part with original paste paper, covered by cardboard lined with green silk. 1 key.101 × 60 × 87 cm.In good, restored condition. Bronze mounts, later, after templates by Funk. The locks, later and moved.An elegant chest of drawers with a fine veneer pattern in a very good, restored condition. The chest of drawers matches the type G4 in Hermann von Fischer's system. A very similar chest of drawers is depicted under number 160 and is dated 1750/55. (Hermann von Fischer, Fonck a Berne, Berne 2001. p. 99). With the exception of the escutcheons, this commode features bronze mounts identical thereto. However, these types of escutcheons can also be found on other furniture by this ebenist.
ECKHALBSCHRANK sog. ENCOIGNURETransition, wohl Wien um 1800.Mahagoni, Palisander und Satinholz eingelegt mit teils getönten Hölzern in Form von Blumen. Viertelkreisförmiger Korpus auf wenig ausgeschnittener Zarge und geschweiften Beinen. Eintürige Front, die Türe mit ovalem Blumengebinde und Masche eingelegt. Seitliche, leicht eingezogene Lisenen. Feine vergoldete Bronzebeschläge in Form von Blüten, Blättern und Zierfriesen. Sabots in Form von Voluten und Akanthusblatt. Rot/grau gesprenkeltes, randmoulüriertes Marmorblatt. 1 Schlüssel.57 × 57 × 90 cm.Restaurierter Riss. Gebrauchsspuren. HALF-HEIGHT CORNER CABINET, so-called ENCOIGNURETransition, probably Vienna ca. 1800.Mahogany, rosewood and satinwood, inlaid with in part tinted woods in the shape of flowers. Front with one door, inlaid with an oval bunch of flowers and a bow. Fine, gilt bronze mounts designed as blossoms, leaves and decorative friezes. Sabots designed as scrolls and acanthus leaf. Red/gray speckled marble top with shaped edge. 1 key.57 × 57 × 90 cm.Restored crack. Signs of wear.
BONHEUR DU JOURTransition, Frankreich um 1760. Undeutlich signiert.Rosenholz und Palisander eingelegt in geometrischen Reserven. Rechteckiges, an den Ecken leicht ausschwingendes Blatt auf ausgeschnittener Zarge und geschweiften Beinen mit Bronzesabots (zwei fehlen). Front mit Schublade und zurückversetztem Aufsatz mit Fach und vier Schubladen hinter Lamellenverschluss. Die Frontschublade mit herausnehmbaren Fächern für Tintengeschirr sowie verschiebbarem, mit schwarzem Leder bezogenem Deckel. Geheimfach. 2 Schlüssel. Freistellbar.63 × 41 × 97 cm.Risse und Restaurierungen. Etwas zu überholen.Kaufquittung von 1941. BONHEUR DU JOURTransition, France ca. 1760. Indistinctly signed.Tulipwood and rosewood, inlaid in geometric reserves. Rectangular top, curved legs with bronze sabots (2 missing). Front with drawer and recessed upper part with compartment below four drawers concealed by a slatted door. The front drawer, with removable compartments for inkwell and blotter, and slidable cover lined with black leather. Secret compartment. 2 keys. Free-standing.63 × 41 × 97 cm.Cracks and restorations. Requires some restoration.Purchase receipt from 1941.
Bronze plaque depicting the Battle of Dinant, signed A. Daoust, Russian orthodox icon featuring St. Nicholas, painted on wooden board 10.5cm x 13cm, early 20th century ivory miniature after Lawrence Alma-Tadema and signed Tremont, another miniature together with two framed Stevengraph bookmarks (6) - Condition Report
ÉMILE-JACQUES RUHLMANN (1879-1933) A RARE 'VIVILLE' SILVERED BRONZE TABLE MIRROR the circular mirror plate resting on a volute base, the underside stamped "Ruhlmann 36299". Height: 51cm, Diameter: 46cm, Depth: 24cm. This model was created c. 1926 for the Parisian showroom interior of parfumerie Viville, following its acquisition by Yardley in 1924. Ruhlmann, whose work has come to epitomise French Art Deco, was recruited to mastermind the new showroom and his characteristic vocabulary of abstracted classicism dominated the stylish interior.
ASSORTED COLLECTABLES mainly coins and pens, comprising a South Africa 5 shillings, 1948; Zambia Anniversary of Independence five shillings, 1965, in case of issue; three Southern Rhodesia Rhodes Centenary crowns, 1953, one in case of issue; five other commemorative coins; a bronze medal commemorating the visit of the Duke & Duchess of Cornwall & York to Cape Colony, 1901, in case of issue; Parker and other fountain and ball-point pens, some boxed; a German set of drawing instruments, cased; a set of Rex-Rotary draughtsman's pens, cased; and a Castell slide rule, cased.
AFTER THE ANTIQUE: a bronze figure of a discus thrower, unsigned, 9.5cm high; together with an octagonal bronze stand, 9cm wide Condition Report : both pieces in good condition, no issues Condition reports are offered as a guide only and we highly recommend inspecting (where possible) any lot to satisfy yourself as to its condition.
AFTER FELIX MAURICE CHARPENTIER (1858-1924): 'L'ETOILE FILANT' (the shooting star) a bronze figure of a female nude, on shaped octagonal marble base, bears foundry mark, signature and 'A7475' to bronze, 30.5cm high Condition Report : good condition, no signs of any damage Condition reports are offered as a guide only and we highly recommend inspecting (where possible) any lot to satisfy yourself as to its condition.
Laurence Broderick (born 1935) - The Family, bronze figural group of mother holding an infant whilst on the shoulders of the father, inscribed signature, limited edition numbered 2/7, impressed Morris Singer Foundry mark, 23" high ** Sold with Sculptors studio purchase receipt stating sold at The Annual Skye Sculpture Exhibition 11 October 1993
Georg Ehrlich (Austrian 1897-1966) - 'Head of Christ' bronze bust sculpture, mounted upon a rectangular wooden plinth, signature to shoulder, 16" high ** ex. Bealby-Wright collection - this sculpture is illustrated in the reference book 'Georg Ehrlich' by the art historian Erica Tietze-Conrat for Batsford Books first published 1956, fig.38. sold with a copy of the book, O'hana Gallery brochure and further exhibition ephemera. ** Georg Ehrlich was an Austrian sculptor though lived in London from 1938 and became a British citizen in 1947. Ehrlich has works in the Tate Gallery, British Arts Council, British Museum and Victoria and Albert Museum**This sculpture is part of a deceased estate and has been in the same family by descent for over 60 years, having been purchased by the vendors Grandmother Jane Bealby-Wright, who was a friend and supporter of the artist Georg Ehrlich A.R.A.
Anthony Scott (British born 1968) - seated bull terrier, bronze figure, signature and numbered 2/6 to the underside, 22" high** Sold with a copy of the 2011 Beaux Arts Gallery exhibition catalogue.** Scott has been a regular annual participant at the Royal Hibernian Academy and has exhibited extensively in Ireland, the UK and at numerous international art fairs. His work is also included in the public collections of the Arts Council of Northern Ireland, the Barbican Centre, London, the Crafts Council of Ireland, the US Ambassador's Residence in the Phoenix Park, Dublin, Kelly's Hotel Rosslare and in numerous important private collections
* After Giovanni Francesco Barbieri, Il Guercino (1591-1666). The Samian Sibyl, oval oil on board, head and shoulders portrait, half-profile to left, of a young female wearing red and bronze robes, a green and red headdress, and pearls in her hair and ears, her eyes gazing upwards, verso with faint pencil inscription and Christie's black ink stencil 'ECS73', 21.8 x 17.7cm (8.5 x 7ins)Qty: (1)NOTESProvenance: Christie's South Kensington, Christie's Interiors, 9th September, 2008, lot 194.
* Kirk (John, 1724-1776). Portrait of miniaturist John Smart, plaster cameo portrait, oval head & shoulders portrait, profile to right, of a bewigged young gentleman, signed lower left, 27 x 20mm (1 x .75ins)Qty: (1)NOTESProvenance: Collection of Arthur Jaffé OBE (1880–1954), and thence by descent. International lawyer Arthur Jaffé was an eminent scholar and collector of miniature paintings. He was an authority on John Smart, and spent many years researching the miniaturist, with the intention of writing a catalogue raisonné of the artist’s works. Although he died before the task could be completed, the body of work he had produced formed the basis of Daphne Foskett’s book, John Smart. The Man and his Miniatures, published in 1964. John Kirk is known primarily as a medallist and gem-engraver, who produced a large number of medals from around 1740 until his death. In 1762/3 he received premiums from the Society of Artists and in 1773 and 1775/6 he exhibited medals of the royal family and others. He also produced medals commemorating the victories of the War of the Austrian Succession and the Seven Years' War, as well as others for royalty, politicians and civic associations. Daphne Foskett records that, in 1777, medals bearing the portrait of renowned miniature painter John Smart, modelled by Joachim Smith and cut by John Kirk, were struck in silver, silver alloy and bronze. She suggests that these were likely produced to celebrate Smart's appointment as Vice-President of the Incorporated Society of Artists.
* Moreau (Mathurin, 1822-1912). Gypsy Girl, cast bronze bust of a girl wearing a headscarf and earrings, signed underneath the right shoulder Math. Moreau, mounted on a veined white marble socle, and bronze base plate, dark brown and gold-brown patina, overall height 28 cm (11 ins), 15 cm (5.9 ins) wideQty: (1)
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