A French gilt-bronze mantel clock, Early 19th century, The case surmounted by a flowering urn and supported on a fluted Corinthian column, with the Three Graces holding floral swags on a tulip base with recessed sides and foliate ormolu mounts on bun feet, the white enamel dial with Roman and Arabic numerals, signed Ragot A PARIS, the twin train eight day movement possibly associated, with outside countweel and coup perdu escapement striking on a bell, 80cm highPlease note that Roseberys do not guarantee the working order or time keeping of any timepiece.
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A pair of French gilt-bronze and cobalt blue glass candlesticks, Of Louis XVI style, late 19th century, Each modelled as an urn issuing rose branches surmounted with single sconce, the urn with four tapering fluted foliate handles on acanthus support above laurel wreath on a square base, 39cm high (2)
A Continental gilt-bronze mounted porcelain purple-ground hexagonal pot-pourri jar and domed cover, Possibly Samson, second half 19th century, Each side centred by a pierced turquoise fretwork shaped-rectangular panel, the ground painted with black rosette and square ornament and reserved with stylised two-handled jars and ogival lobed panels with flowers, on a hexagonal gilt-bronze mount with scrolling feet, the neck with a foliate-scroll mount with pierced apertures, the cover mounted with a rococo-scroll gilt-bronze finial, 40.5cm high overall
A pair of French gilt-bronze figural candlesticks,In the manner of Corneille van Cleve, late 19th century,One modelled with a seated and draped male figure holding a cornucopia, the other with a female figure holding a foliate and ribbon-tied floral cornucopia, with shaped drip-pan and urn socket, above a gadrooned spreading base with entrelac and rosette border, 33.6cm high (2) Provenance: Purchased from Kraemer, Paris, 1950s. Footnotes:Note: These candlesticks are a variant of the celebrated model by Corneille van Clève (1646-1732). The original drawings were once originally attributed to Charles Le Brun (1619-1690) but are now thought to be by van Clève and are held in the Staatliche Museen zu Berlin. The strapwork and entrelac bases of these candlesticks are identical to those on a pair of early 18th Century candlesticks in the Wallace Collection, illustrated in F.J.B. Watson, Wallace Collection Catalogues, Furniture, London, 1956, pl. 20, F22.
A collection of objects of vertu and silver, Comprising: an early Edwardian silver rattle, Birmingham, 1901, Cornelius Desormeaux Saunders & James Francis Hollings Shepherd, with bells dependent and a mother of pearl hoop, 10.2cm long; a small silver pill box in the form of a book, London import marks, 1960, J R & Co., 3.3cm, 3.9cm wide; a small silver pill box designed with shilling coins to lid and base, Birmingham, date letter indistinct, S. J. Rose & Son, 2.4cm diameter; a modern Lalique model of seated cherub, signed Lalique France to base, 7cm high; a Halcyon Days enamel trinket box inscribed Love and congratulations, 5.2cm wide; a Staffordshire enamel trinket box inscribed Grow old along with me, The best is yet to be., 4.4cm wide; a pair of bronze mice, 6.1cm wide; a gilt-brass mounted lapis lazuli reliquary of St Christopher, 5.7cm high, 4.2cm wide; a small circular cloisonné enamel box and cover, 5cm diameter; and others (lot) Condition Report: Gross weight of silver approx. 2.9ozt
A French gilt-bronze candlestick converted to a lamp, In the style of Juste-Aurèle Meissonier, French, 1695-1750, late 19th century, The spirally-cast stem with asymmetrical C-scrolls, the base with flowers and rocaille, later adapted with woven shade, 45cm high excl. fitmentIt is the buyer's responsibility to ensure that electrical items are professionally rewired for use. Footnotes: Note: The lively and sinuous model for this candlestick was the work of Juste-Aurèle Meissonnier, one of the leading Rococo designers. Born in Turin, Meissonier moved to Paris in 1715 and rapidly gained a reputation as a prominent tastemaker in the rocaille style. In 1726 Meissonnier was named dessinateur to the king, which provided him with a sizable income until his death and positioned him to influence taste at the French court.
After Claude Michel, called Clodion, French, 1738-1814, a French bronze group of a Bacchante and Satyr, Late 19th century,The female figure riding on the shoulders of a satyr while holding a thyrsus aloft, with cast signature CLODION, on an associated circular verde antico marble base, bronze - 38cm high, overall - 40.5cm high
A French bronze model of the Dancing Faun, After the Antique, late 19th century, Holding a cymbal in each hand and pumping a scabellum with his right foot, on a rectangular base, 30.5cm high Footnotes: Note: The Dancing Faun or Faun with the Clappers, was housed in the Tribuna of the Uffizi and was considered to be one of the most beautiful marble sculptures remaining from antiquity. It is not known precisely when the ancient marble reached Florence, or indeed where or when it was originally excavated, but it swiftly established itself in the popular imagination, and enjoys a prominent situation in Zoffany's celebrated painting of the Tribuna of the Uffizi in the Royal Collection.
A pair of French gilt-bronze twin-light wall appliques, Of Louis XVI style, first half 20th century, Each with a ribbon-tie and swag backplate supporting a pair of fluted branches, the backplates - 77cm high (2)It is the buyer's responsibility to ensure that electrical items are professionally rewired for use.Condition Report: Good overall condition with only minor wear. One appliques has a small loss/cast fault at the top edge. The wires run inside the branches and a qualified electrician should examine the lot before use.
A French bronze model of the Dying Gaul, After the Antique, late 19th century, Depicted slumped on his shield holding his right leg and with a sword puncture wound to his chest, beside him lays his belt, trumpet and sword with lion-head hilt, on a later oval black marble base, bronze - 17cm high, 33cm wide, 15cm deep; overall - 21cm high, 36cm wide, 17.8cm deep Footnotes: Note: The Dying Gaul has been referred to as the Dying Galatian and the Dying Gladiator throughout history. A Roman marble sculpture in the Capitoline Museum is itself a copy of a bronze sculpture thought to have been commissioned by Attalus I of Pergamon in 230-220 BC to celebrate his victory over the Galatians. The marble was found in the excavations of Villa Ludovisi, Rome and was first recorded in archives in 1623.
A pair of French gilt-bronze twin-light wall appliques, Of Louis XVI style, late 19th century, Each with a ribbon-tied backplate issuing branches entwined with leaves and flower buds, the backplates - 57cm high (2)It is the buyer's responsibility to ensure that electrical items are professionally rewired for use.
A pair of French bronze models of the Belvedere Antinous and Bacchus, After the Antique, late 18th / early 19th century, Each depicted standing with tree trunk behind, mounted on ormolu bases with scrolls and foliage, 44cm high, 18cm wide, 19cm deep (2)Footnotes: Note: The antique marble statue of Antinous Belvedere was first mentioned in 1543 when Pope Paul III purchased it for the Belvedere garden. It quickly became highly admired and was subsequently copied in many materials throughout the following centuries.
A pair of French bronze figural groups of children taunting a swan,In the manner of Clodion, late 19th century, Each with three young figures grappling with the struggling birds on naturalistic base, on gilt-bronze mounted siena marble base, overall - 26cm high, 26.3cm wide, 21.6cm deep and 28cm high, 26.3cm wide, 21.6cm deep (2)
An Italian bronze group of Pan and Apollo, After the Antique, 19th century, The figures shown seated on a plinth, 34cm high, 19cm wide, 13cm deepLiterature: F. Haskell and N. Penny, Taste and the Antique - The Lure of Classical Sculpture 1500-1900, New Haven and London, 1981, pp. 286-8, fig. 151.Footnotes: Note: The present group, traditionally identified as Pan and Apollo, is a reduction of one of the most celebrated ancient marbles, of which the best known version is in the Museo delle Terme in Rome (Haskell and Penny, loc. cit.). It and another, formerly in the Farnese Collection and now in the Museo Nazionale in Naples, were both recorded as early as the mid-sixteenth century, and inspired numerous amorous adaptations.
A Paduan bronze inkwell, 16th century, With four infants supporting a lidded vase, on a square section base raised on paw feet, 23.5cm high, 18.5cm wide, 15.5cm deepFootnotes: Note: The style and casting of the present lot points to Padua's late Renaissance bronze production. The four infants or putti in particular recall the work of Niccolo Roccatagliata (1593-1636).
After Edme Dumont, French, 1761-1844, a French bronze model of Milo of Croton, Mid-19th century, The figure shown splitting a tree trunk, on a rouge griotte marble plinth, 42.5cm high overall, 21cm wide, 22cm deepFootnotes: Note: Milo of Croton was a legendary athlete of the 6th century B.C. whose pride in his own strength caused him to attempt to wrench an oak tree apart with his bare hands. The original marble version is now in the Louvre, Paris.
A pair of French bronze models of the Apollo Belvedere and Diana the Huntress,After the Antique, second half 19th century,The rotating bases on breccia and black marble plinths, the bronzes - 49cm and 50cm; overall - 60cm and 61cm high; together with a pair of gilt-bronze mounted variegated marble pedestal columns, late 19th century, displayed inverted with the foliate capitals as bases, later plateaux, 67cm high (4)
A pair of Italian gilt-bronze models of Furietti Centaurs, After the Antique, second half 18th century, The first depicting a bearded figure with arms bound behind his back, the second depicting a youth raised in celebration, on a modern plinth, the front foot of one centaur is broken and detached, 52.5cm and 45.5cm high (2)Literature: F. Haskell and N. Penny, Taste and the Antique - The Lure of Classical Sculpture 1500-1900, London, 1981, pp.178-179, figs. 91 and 92.Footnotes: Note: The original marble versions of these bronzes were discovered during excavations in 1736 by Monsignor Furietti at Hadrian's Villa. Their decorative qualities offered copyists great possibilities for production in small-scale bronzes. Thus the latter part of the 18th century and the start of the 19th saw them produced in large numbers, both as miniature bronzes and life-size marble and plaster versions.The desirability of the originals was so great that in 1763 Pope Benedict XIV offered Furietti a Cardinal's hat for them, while in 1765 the English offered vast sums before they were finally secured by the Capitoline Museum, Rome, where they are currently housed (Haskell and Penny, loc.cit.).
A pair of French bronze models of infant musicians, Mid-18th century, One playing a flute, the other a triangle, on naturalistic bases and further mounted on ormolu plinths with scroll feet, the bronzes - 28.5cm high; overall - 34cm high (2)Footnotes: Note: The models for the present lot seem to have originated in Rome, in the circle of sculptors such as Alessandro Algardi (1595-1654) and François Duquesnoy (1597-1643), but these casts were almost certainly made, and mounted on their bases, in France in the middle of the eighteenth century. An identical pair of bronzes on different bases are in the Wallace Collection, London (S204).
After Auguste Moreau, French, 1861-1906, a French gilt and patinated bronze of a child, Late 19th century, Seated in front of a crab inside a shell with a stick raised in their right hand, on a naturalistic base with cast signature aug Moreau, on an oval breccia marble and bronze base, 12cm high, 11.2cm wide, 9.6cm deep
After Giambologna, Italian, 1529-1608, a bronze group of Nessus abducting Deianira, Continental, 20th century, The centaur depicted rearing with the female figure held across his back, on an serpentine stepped marble plinth, bronze - 33.5cm high, 26.5cm wide, 15.5cm deep; overall - 43.5cm high, 26.7cm wide, 15.8cm deep
A Sino-Tibetan gilt-bronze ‘jewelled’ figure of Tara,20th century,Cast seated in lalitasana on a lotus base with her pendant foot resting on a lotus flower, her hands in varada and vitarka mudra, her hair in a high chignon, her headpiece and jewellery set with turquoise, the figure with a lotus mandorla, 20.5cm high
After François-Joseph Bosio, French, 1768-1845, a French bronze group of Hercules fighting Acheloüs metamorphosed into a snake, Third quarter 19th century, Hercules is depicted nude fighting the river-god Acheloüs in the form of a snake with his left hand holding the snake while he raises a rock in his right hand above his head ready to strike, on a naturalistic base with his lion pelt draped on the ground, cast initials G. / VPS, 30cm high, 23cm wide, 10.4cm deep Footnotes: Note: The story appears in Ovid's Metamorphoses (Bk IX:1-88), with Hercules fighting the river-god Acheloüs for the hand of Deianeira, daughter of Oeneus, the King of Calydon. Acheloüs turned into a snake but was defeated by Hercules. This model is after the original sculpture by François-Joseph Bosio and cast by Auguste Carbonneaux in 1824 for the Tuileries Garden in Paris, which is now housed at the Louvre Museum in Paris (no. LL325). A bronze replica cast by Charles Crozatier sits in The Pond in The Botanical Gardens at Kew and has been part of the Royal Collection since it was acquired by King George IV in 1829.
After Claude Michel, called Clodion, French, 1738-1814, a pair of French bronze models of child fauns, Late 19th century,Each with cast signature Clodion, on later variegated square-section marble bases, the bronzes - 27cm and 29cm high; overall - 33cm and 35cm high; together with a pair of gilt-bronze mounted variegated marble pedestal columns, late 19th century, displayed inverted with the foliate capitals as bases, later plateaux, 67cm high (4)
A pair of French gilt-bronze and cut-glass hanging ceiling lights, Of Empire style, second half 20th century, The bowl shade hung with three chains on swan supports, above pine cone finial, approx. 56cm high, 35.5cm diameter (2)It is the buyer's responsibility to ensure that electrical items are professionally rewired for use.
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