Bronze-Kopf des "Buddha Paré"; Siam (Thailand); frühe Ayutthaya Periode (ca. 1450 - 1600).Bronze (starke Alterspatina); montiert auf neuzeitlichem Holzpostament; umlaufend bekrönt von einer reliefiert ornamentverzierten; bandartigen Krone; das Gesicht in typischem Ausdruck eines sanften Lächelns sowie mit meditativ gesenkten Augenlidern; die ursprünglichen länglichen Ohrläppchen (vermutlich mit Ohrringen) fehlen; ebenso die Flammenbekrönung; Höhe (Kopf) ca. 21;5 cm; Gesamthöhe (mit Sockel) 38 cm; Sockel-Holzfurnier teils gelöst; Gesamtgewicht ca. 3;5 kg.1965 für 4900 DM erworben im Kunsthandel Charlotte Horstmann "Ostasiatica"; München/Hongkong; dort bezeichnet und datiert "siam. Kopf fruehe Ayuthia Periode (1450-1600)" (vgl. in Photographie vorliegende Kopie des zugehörigen Rechnungsbelegs).
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Bronze-Plastik der "Guan Yin"/ Buddha; China; wohl Ming-Dynastie (1368 - 1644).Bronze mit Resten alter Vergoldung; vermutlich teilweise später nachpatiniert/fixiert; auf einem frontal gerundeten Scheibensockel-Kranz die sitzende Gestalt der Guan Yin mit meditativ gesenkten Augenlidern und einem mild lächelnden Mund; die beiden Hände kombinieren die Gesten "Bhumisparsha Mudra" und "Varada Mudra"; verso berieben und mit Restvergoldung im Originalzustand; Zeigefingerspitze der linken Hand fehlt; Höhe ca. 33;5 cm; Gewicht ca. 5;6 kg.1965 für 12500 DM erworben im Kunsthandel Charlotte Horstmann "Ostasiatica"; München/Hongkong; dort bezeichnet und datiert "Bronze Buddha; Sung Dyn. 8 - 12. Jh." (vgl. in Photographie vorliegende Kopie des zugehörigen Rechnungsbelegs).
Kruse; Bruno Friedrich Emil (1855 - 1906).Figurenplastik "Bachantin mit Thyrsosstab"; um 1890. Bronze; goldbraun patiniert; auf rötlich marmoriertem; weiß-schwarz geäderten Steinsockelpostament; auf runder Plinthe mit natürlicher Oberflächenstruktur die in tänzerischer Pose stehende weibliche Aktfigur mit Weinranken-Laub und geschultertem Stab; von Weinlaub und Bämdern umwunden und mit Pinienzapfenspitze; auf Sockeloberfläche und Sockelrand jeweils signiert "B. Kruse" mit ergänzendem Gießer-/Hersteller(?)stempel "L. Joerning"; Bruno F. E. Kruse ist ein in Hamburg geborener deutscher Bildhauer und Medailleur; der nach einem Studium in Dresden überwiegend in Berlin tätig war und in Chicago 1906 starb; unter der rechten Schulter rückseitig etwas dunkelfleckig; Gesamthöhe 33;5 cm.
Tierplastik "Leguan" (Echse); wohl "Wiener Bronze"; 1. Hälfte 20. Jh.Bronze mit naturalistischer Farb-Bemalung (stellenweise berieben); lebensnah detailliert gestaltete Bronzeplastik des vierfüßigen; gebogten Tierkörpers mit entsprechender Restbemalung; ganz im Stil der Wiener Bronzen; Maße 6 x 22 x 18 cm; ungemarkt; Gewicht ca. 1308 g.
Cesare Roccheggiani (Italian, active second half 19th century): A pair of late 19th century 'Grand Tour' framed topographical micro mosaic circular panels depicting views of St Peters Square and The Forumthe former showing St Peter's Basilica in Rome, a number of paired figures in the middle-ground, a rooftop scene in the immediate foreground, the latter showing the Forum, depicting the Temple of Vespasian and Titus between the Arch of Septimius Severus and the Temple of Saturn, with a couple depicted to the bottom left, the views mounted within moulded black marble borders and set within contemporary gilt bronze foliate scroll pierced frames, the rear of each frame with original green silk covered backing with gilt tooled trophy makers marks, stamped G ROCCHEGGIANI, ROMA,, 33.2cm diameter overall (2)Footnotes:As a member of a well-known family dynasty of master mosaicists, Cesare Roccheggiani had a reputation as one of the most accomplished artists in the city of Rome in the second half of the 19th century. Probably related to Lorenzo Roccheggiani, a late 18th century mosaicist at the Vatican workshop, whose work included the altarpiece, Crucifixion of St. Peter after Guido Reni, he may have also been related to Nicolo Roccheggiani, who was most likely Lorenzo's son who was also another principle artist at the Vatican although at a slightly later date.Previously thought to have been active in the Vatican Mosaic Workshop in the period 1856 to 1864, little was known of the Ceasre Roccheggiani before he established his own independent atelier, first at 125 via Babuino and then by 1874 at 14-15 Via Condotti near the Piazza di Spagna. However, more recent research and examination of Roccheggiani's mosaics suggest that the artist and craftsman may have worked in the atelier of Michelangelo Barberi given that he was strongly influenced by Barberi's style of work and in some cases directly copied some of his own compositions ( the famous 'Rome by Night and Day' being one of these works). After Barberi's death in 1867, his studio continued under the direction of his daughter, Isabella Barberi but was last listed in 1873 which coincidently is actually the year before Roccheggiani first opened his own business. In the mid 19th century there were nearly one hundred mosaicists operating in Rome, many from small workshops with the majority of their output manufactured solely for the burgeoning tourist trade. However the diverse range of pieces produced in large quantities were generally of a small scale comprising small plaques, miniatures and cameos. By comparison the very best studios such as Cesare Roccheggiani's usually produced more substantial or finer micro mosaics in much smaller quantities. These magnificent and costly works however remained the preserve of the rich and powerful and many of the works, often produced by the Vatican workshop were either gifted by visiting aristocrats, given as diplomatic gifts, commissioned by monarchs or displayed at the major international exhibitions such as the Great Exhibition of 1851.A contemporary photograph of Roccheggiani's shop front illustrates the extensive range of mosaics that his company offered and a guide book to Rome lists him as a supplier of mosaic pictures, tables, cabinets, paper weights and gold ornaments (Murray, 1899, p. 22). Of these works, his table tops and large scale pictures were perhaps the most expensive pieces and were acquired by wealthy and prestigious clients and and displayed at the international exhibitions which were very much a feature of the late 19th century. Roccheggiani's mosaics was exhibited at the 1876 Centennial International Exhibition at Philadelphia and at the 1880 Melbourne International Exhibition and his standing was such that he served as a committee member for The Italian Exhibition in London in 1888.Examples of his work in museums in the UK include an étagère with mosaics in the Gilbert Collection, Victoria and Albert Museum, and a necklace in the British Museum, London (Gabriel, 2000, no. 59; Gere, 1984, no. 966)..For further information on this lot please visit Bonhams.com
Workshop of Niccolò Roccatagliata (Italian, active 1593-1636): A pair of patinated bronze figures of musical puttiVenetian, late 16th or early 17th centurythe nude male figures both with characteristic curling hair, one playing a flute, the other castanets, each standing on a rounded square base with dark brown lacquered patination, and raised on reddish-pink flecked marble circular waisted socle plinths, the figures, 26cm and 27cm high, including socle bases, 40cm high and 41cm highFootnotes:Provenance:By repute probably Dorotheum Vienna, 21-23 October 1937, lot 452; with Reinhold Hofstätter, ViennaRelated LiteratureM. Leithe-Jasper, Renaissance Master Bronzes from the Collection of the Kunsthistorisches Museum, Vienna, Vie.For further information on this lot please visit Bonhams.com
Attributed to William Burges (British, 1821-1881): An impressive enamelled, polished semi-precious stone and ivory inset parcel gilt and silvered bronze centrepiece base together with a polished semi-precious stone and ivory inset parcel gilt and silvered bronze upper sectional epergne support ensuiteby Hart, Son, Peard & Co., London in the later Gothic Revival style, circa 1875, the two parts originally from a centrepiece epergne exhibited at the 1878 Paris International Exhibition the base of architectural tripartite pedestal form, the conforming columnar support with cusped column decoration surmounted by a composite Corinthian capital with leafy and whorl decoration and punctuated by a knopped central section with applied beaded and banded agate cabochon set scrolling filigree decoration and three carved ivory busts depicting a king, a maiden and youth playing a lute, the elaborate hipped base of architectural form formed as three arched openings with circular steeple tower pinnacles surmounted by open filigree and turquoise cabochon inset orbs flanked by crocketed finials, the scrolling filigree and whorl decorated sides banded to the edges by black and white chevron enamelled panels with inset carnelian cabochons, the lower corners modelled as circular domed towers above inset square cornelian panels, the lower frieze with alternating pierced and blue enamel square motif decoration, raised on standing silvered lion passant supports; the upper section with flared scrolling open pierced filigree and lapis and banded agate cabochon inset supports terminating in stylised leafy griffins heads, beneath a border of six inset carved ivory panels depicting food related vignettes, comprising a boars head, a swan, a carp, a turtle, a truckle of cheese and an oval pie, the upper girdle supporting a cut glass dished lobed shallow bowl fitting with panelled star cut centre, the hexagonal columnar support below a filigree and whorl knopped section with lions mask heads, raised on a later fixed black painted stepped hexagonal support, the glass bowl of the upper support probably associated, its fixed stand of a later date, the base, 57cm high, 38cm diameter approximately, the support 28cm high, the support including bowl and later base, 41.5cm high overall (2)Footnotes:Upper Epergne SectionProvenanceJ. S. M. Scott, London - the Birkenhead CollectionWith the Fine Art Society, 148 New Bond Street, London W1S 2JT - purchased by the present vendor, The John Scott Collection 'Modern English' Design from the 1860's and 1870's, 11th June 2014 (4, Epergne fragment - INV 34276).With the Victoria & Albert Museum, Cromwell Rd, London SW7 2RL (loan) prior to March 2021ExhibitedParis International Exhibition, 1878.The Fine Art Society, The John Scott Collection 'Modern English' Design from the 1860's and 1870's, June-July 2014 (4).LiteratureThe Art Journal Illustrated Catalogue of the Paris International Exhibition 1878, p.115.The Fine Art Society, The John Scott Collection 'Modern English' Design from the 1860's and 1870', Exhibition Catalogue 2014 (4), p.16.Centrepiece BaseProvenancePrivate UK collection.With RIBA, 66 Portland Pl, London W1B 1AD (on loan) prior to August 2014.Purchased (private treaty sale) by the present vendor in conjunction with Haslam & Whiteway Ltd (advisors), Kensington Church Street, London W8 7NL, 15th September 2014 (INV 6491).With the Victoria & Albert Museum, Cromwell Rd, London SW7 2RL (loan) prior to March 2021.ExhibitedParis International Exhibition, 1878.LiteratureThe Art Journal Illustrated Catalogue of the Paris International Exhibition 1878, p.115.M. Whiteway & C. Gere, Nineteenth-Century Design; From Pugin to Mackintosh, London 1993, p.175.At the time of his death in 1881, the esteemed architect and designer William Burges was widely thought to be the most influential and gifted figure of his generation. An unstable and extravagant eccentric, he was a brilliant pre-Raphaelite architect who pursued his artistic goals via an idealised vision of the past. In his work he sought to escape from both modern industrialisation and the prevalent Neoclassical architectural style of the establishment and re-affirm the architectural and social values of a utopian medieval England. Standing within the tradition of the Gothic Revival, his works echo his predecessor Pugin and his contemporaries of the pre-Raphaelite brotherhood, whilst heralding those of the Arts and Crafts movement.In a short but illustrious career he won his first major commission for Saint Fin Barre's Cathedral in Cork in 1863 when he was thirty five working with a long established team of craftsmen and artisans he produced a small but architecturally varied output including castles, houses, churches, a warehouse, a university and a school, although many of his designs were either never executed or subsequently demolished. Of Burges's works, his most notable are Cardiff Castle, constructed between 1866 and 1928, and Castell Coch constructed between 1872 and 1891, both of which were built for John Crichton-Stuart, 3rd Marquess of Bute. Aside from his architecture, Burges also designed metalwork, sculpture, jewellery, furniture and stained glass. He also gave a series of lectures called 'Art Applied to Industry' to the Society of Arts in 1864, illustrating the breadth of his artistic interests. Burges was a notable designer of Gothic-inspired metalwork and jewellery and who is now seen as the successor to architect and designer A.W.N. Pugin in refining and developing the Gothic revival style. In his book, William Burges and the High Victorian, the author and art critic Prof. J Mordaunt Crook states that 'Burges's genius as a designer is expressed to perfection in his jewellery and metalwork'. He produced a 'dazzling' array of religious artefacts including candlesticks, chalices, crosses either as individual commissions or as part of the decorative schemes for buildings. Burges also had an early and close connection to the Ecclesiological Society taking on the role of superintendent of the Society's church plate scheme in 1864. However, his most notable metalworks were created for himself, often from the proceeds of the winning of an architectural competition. Examples include his Elephant Inkstand and a pair of jewelled decanters, paid for by the fees for the plans of the Crimea Memorial Church and his series of lectures, 'Art Applied to Industry', and the Cat Cup, created in commemoration of the Law Courts competition. He also designed more utilitarian articles including silverware featuring various fantastical creatures including mermaids and spiders and a set of knives and forks specifically designed for his own residence, The Tower House, with the handles carved as types of meat and vegetables. His own large collection of historic armour was subsequently bequeathed to the British Museum upon his death. Hart, Son, Peard & Co. (1842–1913) were British architectural metalworkers basedin London and Birmingham most associated with the production of ecclesiastical works.Founded in 1842 in Wych St, off The Strand, by bible-trained ironmonger Joseph Hart who was also a member of the Ecclesiological Society, they became artistic metalworkers specialising in ecclesiastical manufactures after merging with Birmingham-based Peard & Jackson in 1866–67. Also skilled in sculpture and with an agent in Paris, Henri Collet, the firm made Burges designs by J.P. Seddon, B.J. Talbert, Alfred Waterhouse and William Butterfield. and importantly had a long-sta... This lot is subject to the following lot symbols: Y ФY Subject to CITES regulations when exporting items outside of the EU, see clause 13.Ф This lot contains or is made of ivory. The United States Government has banned the import of ivory into the USA.For further information on this lot please visit Bonhams.com
Sir George James Frampton (British, 1860-1928): A patinated bronze figure of 'Peter Pan'the figure originally conceived 1911, this reduction edition dated 1913the young boy playfully blowing his pipe, the base signed with GF monogram and dated 1913 to one side, the top edge with inscribed monogram PP, raised on a stepped rectangular green veined marble plinth, the figure 48cm high, 59cm high overall including plinth baseFootnotes:ProvenanceProperty of a private UK family collection since the late 1940's.A leading sculptor of his day, Frampton was a central figure of the New School of sculpture but is perhaps today most famous for his depiction of Peter Pan, J. M. Barrie's 'boy that never grew up' and fantastical storybook hero of Edwardian children's literature. Derived from the life size plaster of Peter Pan exhibited by Frampton at The Royal Academy in May 1911, it was then cast in bronze and erected on behalf of the 'anonymous donor' J. M. Barrie in Kensington Gardens in May of the following year. The statue was placed at Barrie's request on the spot in Kensington Gardens where the little boy appears nightly in his first book 'Little White Bird' dating from 1901. The figure of Peter was supposedly modelled on a family friend of Barrie's, Michael Llewellyn-Davies who was one of the five brothers who inspired the original stories. Barrie is known to have sent Frampton photographs of Michael dressed as Peter Pan from which to work but it is now thought more likely that Frampton actually modelled his Peter on another boy, possibly James W. Shaw or William A. Harwood.The statue was first seen publicly to great acclaim on the 1st May 1912 with no advance publicity after Barrie placed an advert in The Times stating:'There is a surprise in store for the children who go to Kensington Gardens to feed the ducks in the Serpentine this morning. Down by the little bay on the south-western side of the tail of the Serpentine they will find a May-day gift by Mr J.M. Barrie, a figure of Peter Pan blowing his pipe on the stump of a tree, with fairies and mice and squirrels all around. It is the work of Sir George Frampton, and the bronze figure of the boy who would never grow up is delightfully conceived'The statue depicts Peter standing in exactly the same pose as Frampton's original figure first shown in 1911 but with the addition of fairies, rabbits, mice and squirrels to the more elaborate naturalistic base. Much admired, it quickly become a favourite landmark for many adults and children, and is often considered to be one of the most popular public statues in London. Other life-size versions of the statue were later erected in Sefton Park, Liverpool, Canada, Brussels, Australia and New Jersey. It was the obvious widespread popular appeal of the statue that subsequently led Frampton to produce limited edition reductions of the main figure of Peter and the present lot is an early example of one these reductions produced between 1913 and 1925.SFor further information on this lot please visit Bonhams.com
Kronleuchter, achtflammigBerlin, um 1800-1810 Bronzewarenfabrik Werner & Mieth, zugeschr. Messing, vergoldet. Glasprismenbehang. Dreistufiger Aufbau mit ornamentierten und durchbrochen gestalteten Reifen, die Arme in Vogelform. Palmetten- und Rosettendekor. H. 110 cm. Dm. 80 cm. Vgl. Klappenbach, Käthe, Kronleuchter mit Behang aus Bergkristall und Glas sowie Glasarmkronleuchter bis 1810. Bestandskataloge der Kunstsammlungen, hg. von der Generaldirektion der Stiftung Preußische Schlösser und Gärten Berlin-Brandenburg, Berlin 2001, S. 280ff. sowie Klappenbach, Käthe, Kronleuchter des 17. bis 20. Jahrhunderts aus Messing, "bronze doré", Zinkguss, Porzellan, Holz, Geweih, Bernstein und Glas. Mit Beiträgen von Hartmann, Eric u. Kropmanns, Birgit, hg. von der Generaldirektion der Stiftung Preußische Schlösser und Gärten Berlin-Brandenburg. Regensburg 2019, S. 190ff. Ihre Kronleuchter zieren Europas Schlösser: Werner & Mieth. 1792 gründeten Christian Gottlieb Werner und Gottfried Mieth ihre Manufaktur in Berlin. Zunächst in der Königlichen Porzellanmanufaktur als Modellierer und Bossierer tätig, machten sie sich bereits 1791 selbstständig - und zwar mit der Idee einer "Bronze und Kunstsachen Fabrik", ergo gründeten sie zusammen dem Gelbgießermeister Friedrich Luckau jun. eine Sozietät. Über mehr als vier Jahrzehnte hinweg waren Werner & Mieth die bedeutendsten Berliner Hersteller kunsthandwerklicher Bronzewaren, darunter auch phantasievolle Kronleuchter mit feingeschliffenem Glasbehang. Vor allem dank der besonderen Qualität und der großen Bandbreite der Anfertigungen gelang es Werner & Mieth internationale Anerkennung zu gewinnen. Mit dem Unternehmen ging es schnell bergauf. Bereits seit 1794 präsentierten Werner & Mieth ihre Kunstwerke regelmäßig mit großem Erfolg auf den Berliner Akademieausstellungen, was das Ansehen entsprechend mehrte. 1797 beschäftigte die Manufaktur, die 1822 in Werner und Neffen umbenannt wurde, über 30 Handwerker. Warenlager gab es in Berlin, Hamburg, Leipzig, Breslau und London, auch nach St. Petersburg wurde geliefert. Wer auf sich hielt, bestellte bei Werner & Mieth, am besten kunstvolle Einzelanfertigungen. Anfang des 18. Jahrhunderts belieferte das Unternehmen Europas Fürstenhöfe. Früh in Schwung kam das Geschäft durch eine Bestellung von Wilhelmine von Lichtenau, die Mätresse König Friedrich Wilhelms II., die, bekannt für ihren guten Geschmack, mehrere königliche Wohnsitze mitgestalten dürfte. Später fertigten Werner & Mieth unter anderem Kronleuchter für das Kronprinzen Palais und die Winterkammern König Friedrich Wilhelms II. im Schloss Charlottenburg. Besondere Liebhaberstücke sind hervorragende Umsetzungen nach Karl Friedrich Schinkels Entwürfen für Europas Adelsresidenzen, die Leuchter von Werner & Mieth bis heute im schönsten Licht strahlen lässt. Provenienz: Lt. Angaben des Vorbesitzers schwedischer Familienbesitz, vormals Berlin. An eight-light chandelierBerlin, circa 1800-1810 Attributed to Bronzewarenfabrik Werner & Mieth Brass, gilt. Prismatic glass hanging pendants. Ornamental decoration and openwork. Height 110 cm. Diameter 80 cm. Cf. Klappenbach, Käthe, Kronleuchter mit Behang aus Bergkristall und Glas sowie Glasarmkronleuchter bis 1810. Bestandskataloge der Kunstsammlungen, edited by the Generaldirektion der Stiftung Preußische Schlösser und Gärten Berlin-Brandenburg, Berlin 2001, page 280ff. as well as Klappenbach, Käthe, Kronleuchter des 17. bis 20. Jahrhunderts aus Messing, "bronze doré", Zinkguss, Porzellan, Holz, Geweih, Bernstein und Glas. With contributions by Hartmann, Eric u. Kropmanns, Birgit, edited by the Generaldirektion der Stiftung Preußische Schlösser und Gärten Berlin-Brandenburg. Regensburg 2019, p. 190ff. Provenance: according to the information given by the previous owner, formerly owned by a Swedish family, Berlin.
Ein Paar Girandolen, zweiflammigFrankreich (Paris), 18. Jh. Bronze, vergoldet. Spiralig gewundener Schaft über geschweiftem Fuß mit Blumenranke. Geschweifte Rankenarme um zentralen Blattschaft. Rest., min. besch. Bohrlöcher für Elektrifizierung. Die Rankenarme abnehmbar. H. 44 cm. Phantasievoll, verspielt, spontan, beinahe wild - mit diesen Adjektiven könnte man die Gestaltung des Paars Kerzenleuchter beschreiben, die durch einen Aufsatz auch als zweiflammige Girandolen genutzt werden können. Die herkömmliche Gliederung des Leuchters in Fuß, vertikalen Schaft und Traufschale verschmilzt hier zu einer organischen Einheit aus Palmblättern in S-Schwüngen. Ausgehend von einer asymmetrischen Basis schrauben sie sich in spiralförmiger Bewegung bis zu der unregelmäßig geformten Tülle. Der Kontrast zwischen den polierten und matten Oberflächen der vergoldeten Bronzen steigert dabei noch den Eindruck von Dynamik und Lebendigkeit. Ihre virtuose Formensprache entstammt dem sogenannten "Style Rocaille", den der französische Goldschmied und Ornamentstecher Juste Aurèle Meissonnier (1695-1750) begründete. 1734 erschienen seine "Livres d'ornements en trente pièces", in denen er Vorlagen für Kunsthandwerker in einem ganz neuartigen, von Naturformen inspirierten Stil vorstellte. Charakteristika sind Asymmetrie, unregelmäßiger Umriss, Bewegung, bis hin zur Loslösung vom Objekt. Zeitgenössische Kritiker empfanden diesen "Style Rocaille" als willkürlich und keiner Ordnung folgend. So spottete der Zeichner Nicolas Cochin 1754 im "Mercure de France" in einer "Bitte an die Goldschmiede, Ziseleure und Holzbildhauer": "Wir wären Ihnen unendlich verpflichtet, wenn Sie so freundlich wären, nicht Sinn und Bestimmung der Dinge zu ändern und sich zu erinnern, zum Beispiel, daß ein Kerzenhalter gerade und vertikal geformt sein sollte, um eine Kerze zu tragen, und nicht gewunden, als ob ihn jemand verbogen hätte, daß eine Tropfschale am Kerzenhalter konkav sein sollte, um das Wachs aufzufangen, das herunterläuft, und nicht konvex, um es auf das Tischtuch unter dem Kerzenhalter tropfen zu lassen." (Zit. nach Ottomeyer, Hans / Pröschel, Peter: Vergoldete Bronzen. Die Bronzearbeiten des Spätbarock und Klassizmus. Bd. 1. München 1986, S. 99.) Dementsprechend knüpfte man im Paris der Jahrhundertmitte bald wieder die klassische, an der Antike orientierte Formensprache an, wobei der "Style Rocaille" noch eine Weile neben dem Frühklassizismus weiterexistierte. Begeistert aufgenommen wurde er in hingegen in Deutschland, und hier vor allem im Süden: Dies war in erster Linie das Verdienst von François Cuvilliés, der die Rocaille als Ornamentform 1720/25 in Paris kennengelernt und bald danach am Hof des bayerischen Kurfürsten Max Emanuel eingeführt hatte. Seine "Reichen Zimmer" der Münchener Residenz oder etwa die Amalienburg im Schlosspark von Nymphenburg sind ikonische Werke des deutschen Rokoko und bis heute überwältigende Zeugnisse dieser Begeisterung für die Rocaille. Provenienz: Christie's London Auktion The European Conoisseur. 500 Years Decorative Arts Europe, 06.07.1992, lot 37 (mit Zuschreibung an Caffieri) - norddeutsche Privatsammlung. A pair of two-light girandolesFrance (Paris), 18th century Bronze, gilt. Restored, minor damage. Boreholes for electrification. The tendril arms are removable. Height 44 cm. Provenance: Christie's London Auction The European Conoisseur. 500 Years Decorative Arts Europe, 6 July 1992, lot 37 (with attribution to Caffieri) - Private collection, North Germany.
Seladonvase mit vergoldeter BronzemontierungChina/Frankreich, 18./19. Jh. Porzellan, seladonfarben glasiert. Vergoldete Bronze. Balusterform mit reliefiertem, sich überlappendem Schuppendekor. Bronzemontierung mit floralem Dekor auf vierseitiger, profilierter Sockelplatte. H. 48 cm. Provenienz: Christie's, New York, 19.102007, Lot 288. - norddeutsche Privatsammlung. A celadon vase with gilt bronze mountChina/France, 18th/19th century Porcelain, celadon glazed. Gilt bronze. Decoration in relief. Bronze mount on base plate. Height 48 cm. Provenance: Christie's, New York, 19 October 2007, lot 288. - Private collection, North Germany.
Kaminuhr "à l'Eléfant"Paris, Louis XV, wohl Mitte 18. Jh., Gille L'Ainé Vergoldetes Bronzegehäuse, tlw. brüniert. Auf Terrainsockel steht ein trompetender Elefant, der die Uhrtrommel mit einem Putto als Bekrönung trägt. Emailzifferblatt mit römischen und arabischen Ziffern. 8-Tage-Gehwerk. Pendel mit Fadenaufhängung. 1/2-Stunden-Schlossscheibenschlagwerk auf Glocke. Zifferblatt und Messingplatine bez. "Gille L'Ainé a Paris". Schlüssel. Zifferblatt mit Haarrissen. 42 x 30 x 16 cm. Provenienz: Nagel, Auktion 17.-18.09.1993, Lot 1212. - norddeutsche Privatsammlung. Vgl. Tardy, La Pendule Française. Paris 1975. Bd. I. S. 170 ff. - Ottomeyer, Hans, Pröschel, Peter, Vergoldete Bronzen. München 1986, Bd. I, Abb. 2.8.5. A mantle clock "à l'éléfant"Paris, Louis XV, probably mid-18th century, Gille L'Ainé Gilt bronze case, partly burnished. Enamel dial with Roman and Arabic numerals. 8-day movement. Pendulum with thread suspension. Countwheel striking the half hours on a bell. Dial and brass plate inscribed "Gille L'Ainé a Paris". Key. Hairline cracks to dial. 42 x 30 x 16 cm. Provenance: Nagel, Auction 17-18 September 1993, lot 1212. - Private collection, North Germany. Cf. Tardy, La Pendule Française. Paris. Volume I. Page 170 ff. - Ottomeyer, Hans, Pröschel, Peter, Vergoldete Bronzen. Munich 1986, Volume I, illustration 2.8.5.
Tischuhr "Porte-Montre" mit EcritoireParis/Zürich um 1800, Uhrmacher Christofle Zeller Bronze, ziseliert, matt- und glanzvergoldet bzw. bruniert. Ovaler, profilierter Sockel. Inneneinrichtung mit Einsätzen aus Bronze, Glas und Porzellan für Tinte, Löschsand und Federkiele. Darauf ein einen Korb tragender Hund auf Terrainsockel. In den Korb eingesetzte Spindeltaschenuhr mit Kette und Schnecke. Weißes Emailzifferblatt mit römischen und arabischen Ziffern. Vergoldete Messingplatine bez. "CHR ZELLER a ZÜRICH" (lt. Expertise Viebahn). Schlüssel. 16 x 16,5 x 11 cm. Provenienz: Viebahn Kunsthandel, Worpswede. - norddeutsche Privatsammlung. Vgl. Tardy, La Pendule Française. Paris 1975, Bd. 2, S. 393, Abb. 2. A table clock "Porte-Montre" with ecritoireParis/Zurich circa 1800, watchmaker Christofle Zeller Bronze, chased, matt and gloss gold-plated / burnished. Inserts made of bronze, glass and porcelain for ink, pounce and quill pens. Embedded pocket watch with verge escapement, chain and fusee. White enamel dial with Roman and Arabic numerals. Gilt brass plate inscribed "CHR ZELLER a ZÜRICH" (Viebahn according to expert opinion). Key. 16 x 16.5 x 11 cm. Provenance: Viebahn Kunsthandel, Worpswede. Private collection, North Germany. Cf. Tardy, La Pendule Française. Paris 1975, Volume 2, page 393, illustration 2.
Edwin Paul Scharff1887 Neu-Ulm - 1955 HamburgZwei Frauen. Um 1922Bronzerelief. Rechts unten monogrammiert und datiert. 30 x 22 cm. Werkverzeichnis: Jörgens-Lendrum 77 Provenienz: Privatbesitz Süddeutschland Edwin Paul Scharff1887 Neu-Ulm - 1955 HamburgTwo women. Circa 1922Bronze relief. Monogrammed and dated lower right. 30 x 22 cm. Catalogue Raisonné: Jörgens-Lendrum 77 Provenance: private owner, South Germany
Jean Michel Fichot1959 Paris - lebt in ParisAfrikaBronze, braun patiniert. Auf Standplatte. Am rechten Bein mit geritzer Signatur und Nummerierung sowie Gießerstempel Blanchet Fondeur. An der Sockelkante nummeriert: BAF1012199193C36. Eines von 8 Exemplaren. Stellenweise berieben. 118 x 24 x 27 cm. Provenienz: Privatsammlung Süddeutschland Jean Michel Fichot1959 Paris - lives in ParisAfricaBronze, brown patinated. On a base. Incised signature and numbering, and foundry mark Blanchet Fondeur on the right leg. Numbered BAF1012199193C36 on the rim of the base. One of 8 copies. Partly with patina rubbing. 118 x 24 x 27 cm. Provenance: private collection, South Germany
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