ϒ ‡ A French ‘Japonisme’ beechwood, ivory and gilt bronze mounted étagère in the manner of Gabriel Viardot and possibly retailed by L'Escalier de Cristal, the two asymmetrical scrolling tiers with in seized bamboo plants and applied mounts with birds amongst flowering plants, the tiers with four elephant mask supports above pierced fretwork aprons on scrolling legs joined by a conforming pieced stretcher and with claw and ball feet. 79cm wide, 84.5cm high, 49cm deep ϒ Indicates that this lot may be subject to CITES regulations when exported. Please see our Terms & Conditions for more information. ‡ Indicates that the lot is being sold whilst subject to temporary importation and that VAT is due at the reduced rate (5%). Please see our Terms & Conditions for more information.
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‡A gilt bronze mounted painted faience ornithological charger in Japonisme taste by Barluet & Compagnie of Montereau, circa 1880, depicting a hand-painted and glazed figural scene with two parrots on a floral branch inside a cast metal rim with twin foliate handles and oriental motifs including cranes and fans, the feet modelled as dragon-like heads and paws, 12 cm high, diameter of the plate 40 cm excluding handles, 50 cm including them CATALOGUE NOTES: The French commune of Montereau, near Paris, saw a significant rise in the popularity of their characteristic fine faience around 1820, when they mastered the art of transfer printing on earthenware. This painted and glazed example of Montereau earthenware, issued under the direction of Barluet et Cie was made in the fashionable Japonisme taste. The parcel gilt mount echoes and complements the ornithological theme of the faience dish within.ADDITIONAL LITERATURE: For more information about Henry Felix Anatole Barluet and his involvement with Montereau's faicence manufacture, see Arthur, Paul. French Art Nouveau Ceramics: an Illustrated Dictionary, Paris: Editions Norma, 2015, p. 49 ‡ Indicates that the lot is being sold whilst subject to temporary importation and that VAT is due at the reduced rate (5%). Please see our Terms & Conditions for more information.
‡A French champlevé enamelled and gilt bronze twin handled casket in the Orientalist taste, final quarter 19th century, of tapered square form, the hinged cover with an oval painted miniature depicting an amorino with a basket of roses, attached polychrome champlevé enamel panels on exposed gilt ground, conforming front back and sides, the interior with velvet lining, with spreading base on bracket feet, 17.5 cm high, 16.5 cm wide, 16.5 cm deep An identical model was sold at Christie's New York, Interiors, 1-2 October 2008, Lot 857 ‡ Indicates that the lot is being sold whilst subject to temporary importation and that VAT is due at the reduced rate (5%). Please see our Terms & Conditions for more information.
‡ ϒ A nest of three padouk, hardwood and mother of pearl inlaid tables, in the manner of Gabriel Viardot for L'Escalier de Cristal, with gilt bronze and bone mounts, the largest table with a crouching figural mount supporting a scrolled end , each rectangular panel top decorated with pavilions and figures within stylised key pattern boarders on elaborate pierced end supports including a reptilian mount. 63cm wide, 81.5 high, 38cm deep ϒ Indicates that this lot may be subject to CITES regulations when exported. Please see our Terms & Conditions for more information.‡ Indicates that the lot is being sold whilst subject to temporary importation and that VAT is due at the reduced rate (5%). Please see our Terms & Conditions for more information.
‡A French ‘Japonisme’ sycamore, parcel gilt and gilt bronze mounted plant stand in the manner of Gabriel Viardot, the square moulded top above a pierced fretwork applied with circular pierced medallions featuring birds, the shaped cabriole supports joined by a conforming pierced under tier, on claw and ball feet. 43cm wide, 123cm high Note: previously attributed to Gabriel Viardot for l'Escalier de Cristal ‡ Indicates that the lot is being sold whilst subject to temporary importation and that VAT is due at the reduced rate (5%). Please see our Terms & Conditions for more information.
‡A French padouk and mahogany and gilt bronze mounted ‘orientalist’ pedestal, early 20th century, the rectangular moulded top above a pierced and arcaded frieze and four columnar supports joined by a stretcher with splayed leaf cast feet 44cm wide, 87cm high, 32cm deep, the inside of the frieze mounts bearing the incised initials LM ‡ Indicates that the lot is being sold whilst subject to temporary importation and that VAT is due at the reduced rate (5%). Please see our Terms & Conditions for more information.
‡A French ‘Japonisme’ bronze pedestal, 19th century, with elaborately pierced key pattern supports centring on a flower head finial and with elephant mask feet. 59cm wide, 104cm high formerly with a superstructure ‡ Indicates that the lot is being sold whilst subject to temporary importation and that VAT is due at the reduced rate (5%). Please see our Terms & Conditions for more information.
Vincent Desiré Faure de Broussé (French, 19th century), a patinated bronze model of a standing geisha, last quarter 19th century, the head turned slightly to dexter, with a fan in the raised right hand, an exotic bird perched on the kimono, the circular base inscribed in the maquette with signature, 82 cm high CATALOGUE NOTES: Vincent Desiré Faure de Broussé was born in Paris and apprenticed there with renowned portrait sculptor Jean-Jules Salmson. He is recorded to have exhibited at the Salon from 1876, and was known for creating figural sculpture influenced by examples from the Florentine Renaissance. Though this statue depicts a Japanese-inspired subject, the contrapposto pose of the figure, her serene facial features and naturalistically, heavily draped garment still recall Faure de Broussé's interest in Renaissance sculpture. Related literature: James Mackay, The Dictionary of Sculptors in Bronze, Woodbridge: Antique Collectors' Club, 1992, p. 130 Michael Forrest, Art Bronzes, Atglen, Pennsylvania: Schiffer Publishing, 1988, see specifically chapter four, The Japanese Influence, pp. 225-254
A French gilt bronze and cloisonné enamel table lamp in the Japonisme taste, circa 1880, the oil fitment with openwork star pattern and cartouche apron, above a pear-shaped cloisonné body adorned with polychrome flowers, butterflies, birds and insects, on four feet modelled as jewelled elephant masks, 55 cm high, base 16 cm on all sides PROVENANCE: Previously sold at Christie's, Interiors, 14 December 2016, Lot 415 CATALOGUE NOTES: A pair of of similar cloisonné oil lamps was sold at Bonhams, Europe - Defining Style, 9 Jul 2015, lot 237
‡A pair of French gilt bronze and champlevé enamel vases in the Orientalist taste, circa 1880, of tapered cylindrical form with cushion moulded shoulders, with overall Arabesque foliate decoration, above foliate cast, gilt and waisted socles, on conforming enamelled scrolling feet, with brass liners, 28 cm high ‡ Indicates that the lot is being sold whilst subject to temporary importation and that VAT is due at the reduced rate (5%). Please see our Terms & Conditions for more information.
‡A pair of French gilt bronze and champlevé enamel vases by Ferdinand Barbedienne, circa 1870, of tapered cylindrical form with flattened circular rim, the bodies with all-over chain link decoration on turquoise ground and a heraldic device with stylised lilies and banner inscribed Puritas, the twin rectangular handles suspended from panther masks, on splayed, festooned feet, each bearing a paper label inscribed ‘Exposition Publique F. BARBEDIENNE 30, Boulevt. Poissonière. BRONZE DE ART ET D'AMEUBLEMENT’ to the underside, 30 cm high PROVENANCE: The labels on the underside of this pair in particular suggest that these vases were on public display. The address inscribed, 30 Boulevard de Poissonniere, was Barbedienne's own office and gallery space from 1848. CATALOGUE NOTES: For a note about the Puritas motif see lot 49 For very similar examples see: Christie's, The Opulent Eye - 500 Years: Decorative Arts Europe, 14 March 2013, lot 93 Bonhams Los Angeles, Fine European Furniture and Decorative Arts, 9 December 2013, lot 123 ‡ Indicates that the lot is being sold whilst subject to temporary importation and that VAT is due at the reduced rate (5%). Please see our Terms & Conditions for more information.
‡A pair of gilt bronze and champlevé enamel vases by Ferdinand Barbedienne, last quarter 19th century, of tapered cylindrical form with flared rims, the bodies with all-over chain link decoration on turquoise ground and a heraldic device with stylised lilies and banner inscribed Puritas, the twin ring handles suspended from lion masks, on splayed, festooned feet, inscribed F. BARBEDIENNE on the underside of the rim, 30.5 cm high CATALOGUE NOTES: For a note about the Puritas motif please see lot 49‡ Indicates that the lot is being sold whilst subject to temporary importation and that VAT is due at the reduced rate (5%). Please see our Terms & Conditions for more information.
‡A pair of substantial French gilt bronze mounted cloisonné baluster vases in the Japonisme taste, in the manner of examples by Maison Marnyhac, circa 1880, the everted rims with stylised foliate casting, the blue bodies with polychrome enamel depictions of butterflies and bouquets of flowers, on crosshatched surround and pierced metal base with feet modelled as four elephant masks, 51.5 cm high CATALOGUE NOTES: The present vases are fine examples of the Japanese-inspired technique of cloisonné enamelling, which became widespread in France during the second half of the nineteenth century (see the introductory note for a description of the technique). Though enamel vases were often imported from Japan and mounted in gilt bronze once they arrived in Europe, the vibrant colour and smooth texture of the body, not to mention the noticeably Western curled ribbons around the neat bouquets of flowers, point to the French manufacture of the present examples.The vogue for Far Eastern art and other decorative items began in the 1850s, when trade with the Far East increased. The market for art and artefacts developed from this mercantile contact, with tea merchants famously selling art and objects in their shops. At this point the term Japonisme had not fully come into its own yet, and items incorporating Japanese-inspired stylistic elements were often still referred as Chinoiserie. It was not until 1867, when the Japanese government submitted an exhibit for the Exposition Universelle and a large display of art from the nation could be closely and academically scrutinised in Europe for the first time, that the style fully flourished.For further information about the development of Japonisme in France please see: Gabriel P. Weisberg et al., Japonisme: Japanese influence on French art 1854-1910, Cleveland: the Cleveland Museum of Art, 1975, and specifically Martin Eidelberg and William R. Johnston, ‘Japonisme and the French Decorative Arts’ and associated part of the catalogue, pp. 141 - 214 Yvonne Thyrion, 'Le japonisme en France dans la seconde moitié du XIXe siècle à la faveur de la diffusion de l'estampe japonaise', Cahiers de l’AIEF, 1961 ‡ Indicates that the lot is being sold whilst subject to temporary importation and that VAT is due at the reduced rate (5%). Please see our Terms & Conditions for more information.
‡A substantial French patinated and parcel gilt bronze mounted ceramic vase in the Chinoiserie taste, circa 1880, of cylindrical form, the glazed body with twin gilt handles and supports modelled as bamboo and a cherry blossom branch, modelled with a coiling dragon and painted dragons and foliate motifs on blue ground, on a cross-hatched surround and openwork base with four feet modelled as dragon masks, with copper liner, 53 cm high ‡ Indicates that the lot is being sold whilst subject to temporary importation and that VAT is due at the reduced rate (5%). Please see our Terms & Conditions for more information.
‡A Napoleon III champlevé enamel and gilt bronze mounted onyx centrepiece, in the manner of examples by Alphonse Giroux, circa 1870, the circular tray with twelve point enamel floral mount and conforming outer rim, rising from a cornucopia held aloft by a gilt reclining amorino, on oval section onyx and enamel base, 17.5 cm high CATALOGUE NOTES: For a similar example of an onyx centrepiece supported by putti see Christie's New York, Opulence, 13 April 2017, lot 134 ‡ Indicates that the lot is being sold whilst subject to temporary importation and that VAT is due at the reduced rate (5%). Please see our Terms & Conditions for more information.
‡A gilt bronze and champlevé enamel twin-handle centrepiece in the Renaissance Revival taste, possibly by Maison Alphonse Giroux, circa 1870, with doves perched on the foliate cast handles, the basin with enamel geometric motifs, the cartouche-shaped base with two putti and polychrome border, 14 cm high, 26 cm wide, 13.5 cm deep CATALOGUE NOTES: For a pair of very similar centrepieces see Christie's Interiors, London, South Kensington, 18 August 2015, lot 34 ‡ Indicates that the lot is being sold whilst subject to temporary importation and that VAT is due at the reduced rate (5%). Please see our Terms & Conditions for more information.
A pair of French gilt bronze standard oil lamps in the Pompeiian Revival taste, late 19th century, the burners and reservoirs set within urns with cast scenes depicting mythological or allegorical figures, with putti playing pan pipes perched atop feline masks suspending ring handles, the circular base with grotesque masks on reeded shafts with palmette detail, each on three monopodia with paw feet interspersed with anthemia, 175 cm high including fitments CATALOGUE NOTES; During the second half of the nineteenth century, the Roman city of Pompeii was more alive than it had ever been since the volcanic eruption of Mount Vesuvius had destroyed it in 79AD. Excavations commenced in 1748 under King Carlo di Borbone of the two Sicilies, and were steadily advancing during the nineteenth century, when pioneering archaeologist Giuseppe Fiorelli took the lead. As more murals and objects were unearthed, the bronze foundries of Europe found great inspiration in the aesthetic of these ancient finds. The present floor lamps strongly reflect this Pompeian 'look' not just in the mythological scenes cast on the urn oil reservoirs, but also in the paw feet, grotesque masks, palmette leaves and anthemia. This style of lamp is also reproduced in the Chiurazzi Foundry illustrated catalogue, who were renowned for producing bronze models after the Antique from museum collections and excavation sites.Please refer to J.Chiurazzi & Fils, Fournisseurs de Cours et Musees, Milan, 1900, for similar models, particularly nos. 163-171
‡ A French gilt bronze and champlevé enamel clock garniture in Renaissance Revival taste, circa 1870 , The eight-day bell striking movement with Brocot pendulum regulation and with Japy Frères roundel beneath further stamped G V to backplate, Rosette centred gilt Roman Numeral dial inscribed Roman Numeral dial inscribed SIMMONS, MANCHESTER & PARIS, the clock of arch form with serpentine and circular finial and an amorino perched to the centre of the broken arch top, the surface with scrolling polychrome enamel motifs in the manner of Maison Alphonse Giroux, the corners with four knopped and pointed columnar supports on rectangular plinths, with moulded base on bun feet, 43 cm high; with two matched gilt bronze and champlevé enamelled twin handled urns, 31 cm high CATALOGUE NOTES: The retailer, Simmons, traded from 7 St Ann’s Square, Manchester, from prior to 1851 until 1871 when they were succeeded by Arnold and Lewis. A fine wall regulator in a monumental carved oak case in the fully blown Reformed Gothic style signed for I. Simmons (and his successors Arnold and Lewis) was sold in these rooms in our sale of Fine Clocks, Barometers & Scientific Instruments on September 20th 2017 (lot 395) ‡ Indicates that the lot is being sold whilst subject to temporary importation and that VAT is due at the reduced rate (5%). Please see our Terms & Conditions for more information.
‡A French niello, gilt and silvered bronze vase mounted on an metal tray, possibly for the Ottoman market, circa 1880, the vase with twin beaded serpentine handles flanking a polychrome gilt body cast with Arabesque motifs, within a circular cradle on four scrolled feet; the tray with Kufesque and Arabesque motifs, 40 cm high altogether, tray diameter 45 cm ‡ Indicates that the lot is being sold whilst subject to temporary importation and that VAT is due at the reduced rate (5%). Please see our Terms & Conditions for more information.
A gilt bronze and champlevé enamel tazza on stand in Neo Grec taste by Ferdinand Barbedienne, circa 1870, of circular section, the twin foliate cast handles with rings above an enamelled band depicting polychrome ivy, holly and hellebores against a turquoise ground, two acanthus leaves rising from the foliate cast bottom rim, on a fluted, waisted foot, inscribed F. BARBEDIENNE on the base, 23 cm high, 38 cm wide, the bowl 23 cm in diameter CATALOGUE NOTES: This twin handled model was produced and has appeared on the market in various incarnations, including in different sizes, with and without stone socles, and even as a crowning ornament on mantel clocks. The Barbedienne foundry's frequent and creative reuse of existing designs attests to their commercial success. A similar example designed by Barbedienne and Louis-Constant Sevin was exhibited at the 1862 International Exhibition in London, and a smaller version of this model is held in the collection of the Victoria & Albert Museum.
‡ A pair of parcel gilt and patinated bronze vases in the Neo-Grec taste by Ferdinand Barbedienne and Ferdinand Levillain, circa 1875, of baluster form, the beaded and patterned rims above relief cast figural friezes to the waisted neck, depicting human labour, possibly the Labours of the Months, the bodies each with a maiden in Grecian attire carrying fruit and vegetables and a nude male carrying fishing nets, with cast birds, foliage and Bacchic masks, on a circular base, inscribed F. BARBEDIENNE on the base and F. LEVILLAIN on the body, 48 cm high CATALOGUE NOTES: Ferdinand Levillain (1837-1905) began his long career as a master bronze artist as an apprentice in the studio of sculptor Francois Jouffroy. In 1861, while still in his early twenties, Levillain was already exhibiting at the Paris Salon, where his work would continue to appear until 1903. Levillain's efforts as a bronze sculptor, primarily in the Neo-Grec style, did not go unnoticed. Levillain was granted a silver medal at the 1889 Paris Exposition Universelle, and was even made a Chevalier of the Legion d'Honneur. Several of his bronzes, adorned with Neoclassical motifs similar to the present vases, are currently held by major international museum collections, including the Musee d'Orsay, Paris and the Victoria & Albert Museum, London.These vases exemplify the sculptor's fruitful collaboration with bronzier Ferdinand Barbedienne, which started in 1871 and continued until circa 1890. The rich figural decoration across the vases showcases Levillain's ability to construct a narrative on the bronze surface, and to create depth and interest in his designs by playing with varying degrees of relief. The figures depicted hark back to Antiquity, and are shown engaged in different labours including hunting and harvesting. Though the larger figures on the main body of the vases are engaged in similar efforts, carrying fruit and fish, they appear graceful and statuesque. Their classical rendition clearly demonstrates Levillain's education as a sculptor, which in the nineteenth century was still strongly informed by the Academic practice of copying models from Antiquity and the Renaissance.The 1886 catalogue of works offered by Barbedienne’s gallery on 30 Boulevard Poissonniere lists several vases ‘Grecques’, and 'Etrusques’ by Levillain. This list also records a ‘Vase Agriculture’. Though it is hard to say with certainty whether this unillustrated list records the present model, the reference to the theme of agriculture, which is prominent on these vases, certainly makes this a possibility. Related literature: F. Barbedienne, A. Collas, Catalogue des Bronzes d’Art, Paris: 1886, later republished Chicago: Abage publishing, 2002, p. 20 James Mackay, The Dictionary of Sculptors in Bronze, Woodbridge: Antique Collectors' Club, 1992, p. 235 Similar Greek Revival taste bronze vases were sold at Sotheby's New York on 26 April 2017 (Luxe: the Art of the Table) and on 15 April 2011 (19th Century Furniture, Sculpture, Ceramics, Silver & Works of Art).Another pair of vases by Levillain in the same taste was sold at Christie's New York, 500 Years: Decorative Arts Europe Including Oriental Carpets, on 18-19 April 2012 ‡ Indicates that the lot is being sold whilst subject to temporary importation and that VAT is due at the reduced rate (5%). Please see our Terms & Conditions for more information.
‡A Napoleon III champlevé enamel and gilt bronze candlestick in the Neo-Grec taste, the design by Ferdinand Barbedienne and Louis-Constant Sévin, circa 1870-1875, the urn socket atop four Bacchic masks, with Grecian-inspired polychrome enamel foliate decoration across the stem, the base with four panther headed bipodial legs interspersed with anthemia, 31.5 cm high, the base 13.5 wide CATALOGUE NOTES: CATALOGUE NOTES: This model was exhibited both at the 1871 Annual International Exhibition in London and the 1876 Centennial Exhibition in Philadelphia. In both cases, the candlestick was illustrated in the edited 'highlights' catalogues. The masks and crested feline feet give the piece a severe, classical allure. That this sense of gravitas was also perceived by 19th century exhibition goers is shown by the description in the 1876 catalogue, which notes that the idea of strength, solidity and weight is conveyed by the couchant lions and the square pillar. Though the piece is of relatively clean and simple form, its considerable success is demonstrated by the fact that after being exhibited in '71, the candlestick was sold by other retailers and was even part of France's collective exhibited when it next appeared on the world stage five years later.A pair of this model was sold at Sotheby's New York, 9 June 2017 ADDITIONAL LITERATURE: Smith, Walter (ed.) The Masterpieces of the Centennial International Exhibition Illustrated, vol. II, Philadelphia 1876-1878, pp. 378, 411(the present model illustrated) Wallis, George, “The International Exhibition of 1871”, The Art Journal Catalogue of the International Exhibition, 1871, p. 65 (the present model illustrated) ‡ Indicates that the lot is being sold whilst subject to temporary importation and that VAT is due at the reduced rate (5%). Please see our Terms & Conditions for more information.
A large bronze sculpture the Dancing Faun of Pompeii, after the antique, portrayed in ecstatic dance, with hands raised, with an oak and acorn wreath around his horned head, his tail issuing behind him. The original Dancing Faun was discovered in the atrium of the subsequently named 'House of Faun' in Pompeii, first excavated by archaeologists in 1830. It is currently held in the collection of the Naples Archaeological Museum, Height: 82cm Width: 28cm Weight: 12.8kg.
A rare Troika Pottery vase probably retailed by Heal's, square section foot with pierced diamond cut-out, supporting square section body, covered in a white glaze, painted Troika Cornwall England, professionally restored top corner, 23cm. high Literature Carol Cashmore Troika Pottery St Ives, private press, plate 35 for a comparable vase by Alison Brigden covered in a bronze glaze.
Leo Laporte-Blairsy (1865-1923) La Voie Lactee (The Milky Way) a fine Art Nouveau patinated bronze table lamp, with cased blue glass shade probably made by Daum, the shade and bronze with star aperture to emit light, signed in the cast 41.5cm. high Provenance Colonel George Winch (Style & Winch Brewery) Michael Bluett Winch, circa 1953, thence by descent. Literature Victor Arwas, Art Nouveau, The French Aesthetic, Andreas Papadakis Publisher, page 270 for a comparable example illustrated. An example of this spectacular bronze lamp was exhibited at the Salon of the Societe des Artistes Francais in 1904.
Nubian Dancer a bronze and ivory figure by Demetre Chiparus, modelled standing balancing on one leg, the other raised, in elaborate Egyptianesque costume and headdress, on stepped, veined marble base with inset plaque of an Egyptian lady playing a wind instrument, incised D Chiparus to base, signed in the cast D H Chiparus to the plaque, 43cm. high Provenance Private UK collection. Literature Alberto Shayo Chiparus Master of Art Deco, Antique Collector's Club, page 113 plate 41 for an example illustrated. Bryan Catley Art Deco and Other Figures Antique Collector's Club, page 80 for an example illustrated.
Temple Dancer a patinated cold painted bronze and ivory figure by Gerda Iro (Gerdago), modelled balancing on one leg, arms raised, wearing elaborate, cold painted bronze costume, on waisted green onyx base, signed in the cast Gerdago and foundry mark, 48cm. high Provenance Victor Arwas Elton John Elton John Volume III Art Nouveau and Art Deco, Sotheby's London 7th September 1988, lot 840 Private collection Literature Victor Arwas Art Deco Academy Editions, page150 colour plate this actual figure illustrated.
Fisher Boy a cold painted bronze and ivory figure by Ferdinand Preiss, model no. 1229, on stepped onyx base etched F Preiss to base, 36cm. high Literature Alberto Shayo, Ferdinand Preiss and Art Deco Sculptor, ACC Books, page 128 for a comparable Fisher Boy figure illustrated. Provenance private collection.
Summer Dancer a rare cold painted bronze and ivory figure of a dancer by Ferdinand Preiss, modelled standing on one leg her body thrown back and arms extended, her bodice top set with turquoise stone, on a veined green onyx base, etched Ferdinand Preiss to onyx, 23.5cm. high Literature 20th Century Decorative Arts Christie's South Kensington, 1st May 2008 lot 125 for a comparable figure. Provenance
Innocence a bronze and ivory figure by Demetre Chiparus, modelled standing in contemplative pose, on flaring veined onyx base, signed in the onyx D Chiparus, 24.5cm. high Literature Bryan Catley Art Deco and other Figures, Antique Collector's Club, page 71 for a comparable example illustrated.
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