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- 2 oct. 1989—21 mars 2017
A Marble Statue of Aphrodite, Roman Imperial, circa early 1st Century A.D., A Marble Statue of Aphrodite, Roman Imperial After a Greek original of circa 430-420 B.C., the goddess standing in a majestic and graceful attitude, and wearing high-soled sandals, long diaphanous chiton leaving her right shoulder bare, and long cloak falling from her left shoulder in deeply pleated folds, her oval face with parted lips and large wide-set eyes, the wavy hair parted in the center, bound in a broad braided diadem, and flowing in a long tapering tress down the nape of neck; restored in marble: part of proper right earlobe, tip of nose, both forearms with attributes, small parts of drapery, and other minor areas 203.2cm., 80in. high
DEUX HERONS EN PORCELAINE BLANCHE DE MEISSEN, POUR LE PALAIS JAPONAIS DE DRESDE CIRCA 1732R Modelés par Johann-Joachim Kändler, l'un la tête baissée attrapant une grenouille, l'autre la tête tournée vers la gauche nettoyant son plumage; chacun représenté dans un bosquet formé d'un tronc d'arbre entouré de roseaux, le socle rocailleux avec un coquillage et une grenouille, petites restaurations Hauteurs: 62 et 75,5 cm. (22 3/8 et 29¾ in.) (2)
A magnificent Empire Ormolu-Mounted Sèvres porcelain guéridon 'Table des Palais Royaux' 1811-1817, commissioned by Napoleon I, signed Robert 1816 and inscribed Manufre Royale de Sevres 1816, The circular porcelain top decorated with a central roundel depicting the Chateau des Tuileries; the outer roundels depicting: the Château de St. Cloud, arrival of the household; Château de Meudon, a party on horseback; Château de Versailles, the arrival of the household in the background; Château de Trianon, boating on the Grand Canal; the Château de Compiègne; the Château de Rambouillet, a hunting party; Château de St. Germain, arrival of the household and the Château de Fontainebleau, a hunting party; fitted with a protective glass panel and surrounded by a deep ormolu border chased with palmettes, the ormolu frieze mounted with laurel swags and palmettes interspaced by ribbon-tied acanthus wreaths enclosing the arms of France and Navarre; raised on a gilt palm-shaped support with platinum pearls, the spreading base encircled by fruiting grape vines and with scrolling acanthus leaves and platinum leaves surrounded by an ormolu border and raised on a square ormolu plinth. Height 37 1/2 in.; diameter 40 3/4 in.; base 22 5/8 in. square 92 cm; 103.5 cm; 57 cm
An important George III gilt-lacquered brass mounted fustic, rosewood, tulipwood and marquetry commode circa 1770, almost certainly by Thomas Chippendale, The serpentine shaped tulipwood-banded top with a central yellowwood and engraved medallion surrounded by anthemia and a guilloche border with floral sprays and bell-flower inlay, repeated to the front corners, the doors with simulated drawers inlaid with rosettes between interwoven bands and bell-flower divide over shaped panels with oak leaf wreaths enclosing anthemia capped urns with a central beaded mount dividing the doors and an anthemion to the apron, between finely cast gilt-lacquered brass ram's mask, entrelac and husk mounts, repeated to the back corners, the reverse of the doors veneered with black rosewood and now enclosing two conformingly veneered slides, the side panels inlaid with oval paterae within ribbon-tie bell-flower wreaths raised on squared splayed legs with acanthus and bell-flower mounts with Greek-key endings on leaf and gadrooned tapered gilt-lacquered brass feet 89cm. high, 140cm. wide, 65cm. deep; 2ft. 11in., 4ft. 7in., 2ft. 1½in.
A Rare and Important Molded Copper Indian Chief Weathervane, Attributed to J.L. Mott Iron Works Co., New York and Chicago circa 1900, The swell-bodied figure captured in motion, drawing back the arrow in his bow, the fringed skirt swaying back, the Indian with molded sheet-copper headdress, with an arrow-filled quiver and flounced stockings, on a large arrow directional. Weathered to an all-over verdigris and shading of red paint with tiny traces of gilding. Height 62 in.; width 67 in. 157.5 cm; 170.2 cm
A pair of magnificent porcelain vases, Imperial Porcelain Manufactory, period of Nicholas I (1825-1855), dated 1835, Campana shaped and supported on marble stepped plinths with original brass presentation plaques: Presented by the Emperor of Russia to the Earl of Durham. April 1836, the bodies finely painted with figures in historical costume, both signed Golov in Cyrillic, one dated 1835, the reverse of each decorated with lavish gilt acanthus scrolls on green ground, the lower bulbous bodies flanked by four scroll handles, the flared feet with similar gilt ornament on green ground surmounted by curved gilt lip with further burnished foliate border, the bodies strengthened by finely chased ormolu bands, each marked with blue Imperial cyphers for Nicholas I, dated in gilt 1835, one with gilt no: N 1.2.4.B, the other: N 1.2.4.G Quantity: 2 Height of vases: 101cm., 39¾in; diameter of vases: 81cm., 32 in; height of columns: 116cm., 45¾in
TWO MEISSEN WHITE MODELS OF A LION AND LIONESS CIRCA 1732, ATTRIBUTED TO J.G.KIRCHNER, WITH PORZELLANSAMMLUNG, DRESDEN INVENTORY NUMBERS, THE LION WITH P.E.1 IN GREEN, THE LIONESS WITH PE702. IN RED Each recumbent, the lion looking to the right and companion lioness to the left, with incised eyes and furrowed brows, he with a flowing curled mane, forepaws togrther and tail tucked beneath hind leg, with fur tufts to fore and hind legs, the lioness in a similar reciprocal pose (the lion's near-side fore paw with Meissen porcelain replacement, two chips to the mane, one to a tuft at the rump, front left paw lacking a claw, light chipping along the base, firing crack along spine and further firing faults, the lioness with some chipping to claws and edges of fur, firing crack along back issuing hairline cracks and some glaze discolouration to rump) The lion 20¼ in. (51.5 cm.) high, 31¾ in. (80.6 cm.) wide, the lioness 19¼ in. (48.9 cm.) high 30¾ in. (78.1 cm.) wide (2)
A LOUIS XVI ORMOLU AND SÈVRES PORCELAIN-MOUNTED MAHOGANY CONSOLE DESSERTE By Martin Carlin and almost certainly commisioned by the marchand-mercier Dominique Daguerre, each porcelain plaque with underglaze blue interlaced L's centering the date letters gg for 1784 and the painter's mark GI for Étienne-Gabriel Girard and three with a further indescipherable mark possibly for Jacques-François-Louis de Laroche The rectangular white marble top with rounded outset corners and molded edge within a gadroon-cast edge, the breakfronted three short frieze drawers and returns with leaf tip-cast surrounds to the turquoise and gilt-bordered floral sprig-decorated porcelain plaques, each side drawer with secret release button and the central drawer and plaque with lappeted apron, the rounded angles set with sunflower and scrolling acanthus-engraved plaques, the berried holly leaf vine-wrapped tapering columnar legs above a conforming white marble undertier with pierced rear gallery and breakfronted apron with reticulated panels within pearled surrounds, the panelled back with moulded and pearled surrounds, on turned toupie feet with leaf-cast caps and collars, stamped JME twice and M.CARLIN once, inscribed twice in black marker 18238 and with three small circular paper labels inscribed in purple ink 201, the vine mounts with some losses and consequential repositioning, the mahogany panes to the back with restorations from shrinkage 35¾in. (91cm.) high, 53¼in. (135.5cm.) wide, 20in. (51cm.) deep
A magnificent pair of Imperial porcelain palace vases, Imperial Porcelain Manufactory, period of Nicholas I (1825-1855), dated 1848, Each of bandeau form, on square ormolu base, with flared foot and neck, the bodies decorated with moulded acanthus and palm leaves flanked by double handles formed of scrolling leaves and pine cones, the central panels with Old Master paintings, depicting The Stable Interiors after Philips Wouwerman, one signed Stoletov and dated 1848, the other inscribed, signed M. Kornilov and dated 1848, the backs elaborately incised in two-colour gold with scrolling foliage Height: 149cm, 4ft/ 10in.
A LOUIS XVI ORMOLU AND SEVRES PORCELAIN-MOUNTED TULIPWOOD AND PARQUETRY SMALL COMMODE Circa 1776, stamped M. Carlin and twice JME The later shaped moulded white marble top above two panelled frieze drawers with acanthus scrolls on an ebonized background and centered by a lion-mask, above two shaped panelled doors, the doors and sides decorated with oval porcelain plaques painted with flower bouquets within green and gold borders, enclosing an interior lined with marbled paper, the left side fitted with a shelf, the apron with an acanthus clasp and scrolling foliage, the angle mounts in the form of caryatids with laurel-wreaths and terminating in husks of foliage, on fluted tapering legs with sliff-leaf and acanthus sabots, stamped 'M. CARLIN' and twice 'JME', with the Rothschild inventory number 'R214' in black ink to the marble top and the back, with a paper label 'SALON VERT' to the top, with the remains of a round label '...52.../...42.61...' and another label '137[7?]' to the back, also inscribed in chalk 'C[O?}.M.81', to the underside a paper label 'No. 30' and a pencil inscription '30', the marbled paper to the interior 19th Century, the right side of the interior originally fitted with a shelf, the marble repaired 33in. (84.5cm.) high, 35¾in. (91cm.) wide, 17¾in. (45cm.) deep
THE GREAT SILVER WINE CISTERN of THOMAS WENTWORTH, 3RD BARON RABY AMBASSADOR EXTRAORDINARY TO BERLIN, 1706-1711, PHILIP ROLLOS SENIOR, LONDON, 1705/06, Oval, engraved with contemporary royal arms and cipher of Queen Anne (attributed to John Rollos), applied lobes and strapwork, demi lion and drop ring handles and lip border of shells, fully hallmarked on underside, maker's mark and Britannia mark on handles, the foot reinforced on the underside with rivited brass straps 129.5cm, 51in over handles 80800gr, 2597oz 15dwt all in
A MAGNIFICENT IMPERIAL TRIBUTE ORMOLU, ENAMEL AND PASTE-SET Quarter striking AUTOMATON TABLE CLOCK, GUANGZHOU WORKSHOPS QING DYNASTY, QIANLONG PERIOD (1736-1795), MOVEMENT LATER, The richly gilded upright case of rectangular section resting on four elaborately ornamented bracket feet ending in scrolled toes, joined by pierced aprons with garlands of leaves and berries, supported at each corner by columns cast with opulent foliate scrolls, flowers and fruit terminating in four grotesque animal heads, the central panel enclosing a later associated painted 6 3/4-inch dial with Roman numerals and pierced bright cut engraved gilt hands, the paste-set bezel with convex glass, cornered by applied clear paste-set flower heads amidst trailing leafy sprays set with green paste-set brilliants, surmounted by a painted automaton scene depicting a Chinese garden setting with figures passing over a bridge, all against a mirrored background, the polished side panels each lavishly decorated with applied shell handles within a beaded frame and suspending pierced scrollwork, the case surmounted by a pierced foliate balustrade framing a further automaton of spiral twisted glass rods simulating a cascading waterfall, supporting an elaborate gilded double-gourd vase decorated with scrolling flowers and leafy sprays, the lower part of drum shape housing the automaton with ten paste-set flower-heads centered by a Catherine's wheel against a translucent blue guilloche enamel ground, all turning and revolving simultaneously with the striking work, the upper part similarly decorated with scrollwork and set to the front with the auspicious Chinese characters 'da ji' (Great Prosperity) in vibrant red paste stones, the sides with tied drapery in translucent blue enamel crowned by a white and red paste-set revolving pineapple form finial, a spring barrel movement contained within the lower portion for driving the automaton work on the vase, the case now with purpose fitted late 19th Century three train fusee movement with anchor escapement, trip repeat quarter striking on a nest of eight bells and striking the hours on a further bell, the automaton functions all driven by the striking train, the backplate engraved with foliate scrolls and spuriously signed Robert Philip.
John Robert Cozens, THE LAKE OF ALBANO AND CASTEL GANDOLFO Stamped lower left with Sir Thomas Lawrence's collectors mark (L. 2445) Watercolour over pencil with stopping out, held in a French Louis XVI frame 43.3 by 62 cm.; 17 by 24 1/2 in.
A George III ormolu, Geneva enamel and paste-set musical automaton quarter striking tower clock for the Chinese market, London, circa 1790, Composed of five tiers, the surmount with a multi-faceted automaton star above rotating paste-set pillars enclosing English enamel plaques which transform into a paste-set rotating drum, the subsequent tiers each supported by eight pillars to the canted corners and comprising; a rotating enamel-mounted cube set on each side with contra-rotating whorls; an enamel-mounted cube with 2½-inch enamel clock dial and containing a two train chain fusee movement with anchor escapement and silk suspension, quarter striking on two bells, signed on the backplate Thompson, London; a water feature formed by spinning glass rods and with two swans swimming on a simulated pond; an enamel-mounted cube with a large metamorphic whorl and containing a substantial tandem-wound combination spring barrel and chain fusee movement with a 3½-inch pinned cylinder playing two airs on eight bells with fourteen hammers and driving all of the automaton features; the whole set with extremely fine guilloche Geneva enamel panels, finely pierced graduated galleries and mounted with crisply cast and chased floral swags, on foliate claw feet: together with a teak travelling case 116cm. high
The Exceptional Lieutenant Colonel Oliver Arnold Queen Anne Shell-Carved and Figured Mahogany High Chest of Drawers with Open Talons, made by John Townsend, Newport, Rhode Island, dated 1756, Retains its original finish, hardware and finial. Inscribed on long drawer of lower case Made By John Townsend Newport 1756 and apparently again with his name on the top of an upper case drawer divider. It is inscribed in five locations with maker's mark, a large calligraphic M. Further inscribed on bottom of same drawer £ 14 Wigg. Another drawer inscribed Polly. The uppermost proper right drawer inscribed W. Richardson / J. Robinson / E. Wanton / J. Townsend / To Ride Out Next Wednesday and Woman Is By Nature False & Inconstan(t) / W...full / W. Richardson. All of the talons are complete and unbroken but one on the proper right rear foot. Height 88 1/2 in. by Width 40 1/4 in. by Depth 21 1/8 in.
A pair of magnificent Imperial porcelain vases, Imperial Porcelain Manufactory, St Petersburg, Period of Nicholas I (1825-1855), dated 1833, Of bandeau form with cylindrical necks and flared feet, on square gilt-bronze bases, the central panels painted after mid-17th century Dutch or Flemish Old Master genre scenes of musical gatherings, the first depicting The Concert by Anthonie Palamedes, signed lower right in Cyrillic 'Golov', the second with an unidentified picture, signed lower right in Cyrillic 'Meshcheriakov', within ciselé gilt frames, the bodies and rims with raised and gilt neoclassical friezes comprising acanthus, anthemia, rosettes and arches on purple grounds, the sides and backs painted en grisaille with an undulating band of conjoined acanthus swirls on black grounds, the four sections of the bodies joined by gilt-bronze rings cast with further neoclassical ornament, the scroll handles issuing from acanthus leaf brackets and terminating in seed pods, one vase with blue underglaze cipher of Nicholas I and date 1833 Quantity: 2 Height 138cm, 54 1/4 in.
A pair of gilt-bronze-mounted Japanese Kakiemon porcelain and Egyptian porphyry brûle parfums, the gilt-bronze mounts executed by Pierre Gouthière, probably to a design by François-Joseph Belanger, commissioned by the Duc d'Aumont and purchased at his sale in 1782 by Louis XVI, the porcelain 18th century, the gilt-bronze-mounts Louis XVI, circa 1770-1775, Each with a Kakiemon bowl and cover with ridges suggesting a pumpkin, one decorated in kakiemon style and palette with roundels of phoenix (ho-ho birds) encircling a flaming Tama, interspersed with floral sprigs of chrysanthemums, prunus and pomegranate, the decoration of the other bowl identical but with fierce dragons substituted for the ho-ho, the footrims of both bowls cut-down for fitting the mounts, the domed cover with a berried foliate finial with pierced beaded borders, each on tripod supports with chain-hung cherub terms on circular porphyry plinths mounted with ribbon-tied floral swags within a berried laurel border and with a mis au bleu ground with a female mask within a sunburst motif, on bun feet; one Kakiemon cover restored Each 33.5cm. high; 1ft. 1¾in.
A PAIR OF IMPERIAL PORCELAIN PALACE VASES, IMPERIAL PORCELAIN MANUFACTORY, PERIOD OF NICHOLAS I (1825-1855), DATED 1842, Each of bandeau form, on square ormolu base, with flared foot and neck, the bodies decorated with moulded acanthus and palm leaves flanked by double handles formed of scrolling leaves and pine cones, the central panels with Old Master paintings, depicting Musical Party and Permissive Old Woman after Jacob van Loo, the backs elaborately incised in two-colour gold with a lyre flanked by two eagles within scrolling foliage, one inscribed, signed P. Nesterov and dated 1842, the other inscribed, signed V. Yelashevsky and dated 1842. Quantity: 2 Height: 149cm, 4ft 10in.
A pair of gilt-bronze-mounted Sèvres soft-paste porcelain `Vases Medici', almost certainly supplied by the marchand-mercier Dominique Daguerre, the mounts attributed to Pierre-Philippe Thomire (1751-1843) Louis XVI, circa 1788-1790, Superbly painted on a pale blue ground with 'rich arabesques' including, on the upper part, draped tables supporting steaming brûle-parfums alternating with others hanging from draped baldaquins, the lower part with urns filled with flowers and overflowing with water, held within a delicate and elaborate décor of foliage, grapevine and feather arabesques, on a grey-marbleised square base, the mounts with an egg and dart rimmed bowl and twin scrolled handles cast with fruiting vine tracery; the vases cracked, the ormolu with some repair and losses Vases without the mounts each 37.2cm high, with mounts 42.8cm high; 1ft. 2½in., 1ft. 5in.
A pair of Italian carved giltwood settees from the Galleria Dorata Palazzo Carrega-Cataldi, Genoese circa 1740-1744, Each with a shaped padded back within a reeded ribbon-tied frame, the cresting carved with a stylised scallopshell, guilloche and foliage, the top-rail carved with scrolls and bellflowers, with a mermaid on each side-rail with downscrolled arms, on stylised dolphin supports, the seat-rail centred by an espagnolette mask within a foliate cartouche flanked by lion masks, the side-rails carved with drapery swags, flowers and foliage, on cabriole legs terminating in scroll and paw feet; extended; gilding refreshed in parts Each approx: 123cm high, 282cm. wide, 62cm. deep; 4ft. ½ in., 9ft.3in., 2ft. ½ in.
A highly important gilt-bronze-mounted kingwood, sycamore, amaranth, marquetry and parquetry writing table stamped J.H. Riesener Louis XVI, circa 1780, The three-quarter gallery cast with ovoloes above a rectangular top richly inlaid with a central oval marquetry panel depicting a bouquet of flowers contained within a trelliswork ground enclosing flowerheads, the panelled frieze with an alternating band of husks and lunettes containing three drawers, with flower and foliate corner mounts, with similarly mounted sides, on octagonal tapering legs with gilt-bronze banding, terminating in leaf-cast toupie feet; the central drawer probably originally fitted with a writing device, the drawer on the right with a compartment for writing implements, now missing; the underneath with the traces of an illegible paper label 76.5cm. high, 96.5cm. wide, 53.5cm. deep; 2ft. 6¼in., 3ft. 1½in., 1ft. 8¾ in.
Exceptionnelle paire de vases pots-pourris en céladon craquelé d'époque Kangxi (1622-1722) à monture de bronze doré d'époque Louis XV, vers 1740-1750, Chaque pot-pourri constitué de deux bols en céladon craquelé l'un formant couvercle et l'autre la panse; à riche monture de bronze doré ajourée à décor de bouquets de fleurs et feuilles d'acanthe, les anses en formes de feuillages stylisés ; la prise ornée de corail, coquillages et perles ; reposant sur une base ajourée à motifs rocailles ; (un couvercle et un bol restaurés) Quantity: 2 Haut. 42 cm, larg. 41 cm Height 16 1/2 in; width 16 1/4 in
A George III paste-set ormolu musical automaton clock circa 1780, signed by Peter Torckler, Of impressive scale in the form of an Asian elephant supporting a canopied howdah enclosing a figure of Atlas supporting an armillary sphere, the pagoda surmounted by a foliate and painted finial supporting a bejewelled counter-rotating 'Catherine wheel' topped with a pineapple, the elephant, finely chased, in two sections, enclosing one movement, its back draped with a blanket hung with jewelled pearl fringes, the elephant stands upon a finely worked rockwork base, mounted with flowers and rosette form covers enclose the winding apertures, inset to the front with an enamel clock dial with roman numerals and a red and clear jewelled bezel, the reverse set with another dial for selecting one of the six tunes (Gavot, Song, Jigg, Gavot, Minuet and Dance) the mechanism for which is enclosed in the lower section which is painted on metal with landscapes and mounted with ormolu rockwork, bridges, pavilions, pagodas and windmills with turning elements and enclosing glass 'waterfall' rods to all sides, with trophy panels to the canted angles and a burnished and leaf-cast plinth with pierced Chinese fret and anthemia aprons, supported to the corners by seated Chinese figures. The elephant demonstrates four mechanical movements every three hours which run simultaneously in addition to the spinning of the jewelled sections on the finial, the twisting of the glass 'waterfall' rods and the movement of the wheels and windmills on the base. The elephants movements consist of the movement up and down and rotation of the trunk, flapping of the ears a swishing of the tail and a rolling of the blue and grey painted eyes from side to side. These movements can also be actioned by pulling of the cord at the rear left foot of the elephant or in conjunction with any of the six musical tunes operated by pushing a button in the underside of the base. The pineapple finial and painted copper panels to the finial, the jewelled whirly-gig and bezels, winding covers, pearl fringes and pierced aprons to the two long sides and one short side replacements post the 2002 sale, with three plugged holes to the elephants head possibly suggesting that there was originally a figure seated at this point. The clock movement with three chain fusees, the verge escapement with reinstated knife-edge pendulum, striking the hours on a bell and playing one of six tunes on a carillon of ten bells with twelve hammers at each hour or at will. An attached fusee movement operating the glass rod simulated waterfalls and base automata in conjunction with the music. A large fusee movement within the body of the elephant operating the upper automaton features. 102 cm. high, 50cm. wide, 29.5cm. deep; 3ft. 4in., 1ft. 7¾in., 11¾in.
Two pairs of Italian gilt-bronze-mounted brèche violette marble topped kingwood, tulipwood and parquetry commodes, in the Régence manner, Neapolitan second quarter 18th century, The larger pair: Each of gentle serpentine form with a moulded brèche violette marble top above two long drawers, the upper drawer fitted with four short and one long drawer and three pigeon holes inlaid with herringbone parquetry within fruitwood banding with eagle's head handles, the escutcheons cast with stylised scallopshells, c-scrolls and foliage, the corner mounts cast with a female mask in a feathered headdress above a grotesque mask amongst rocaille and scrolls above trails of husks, with a handle on each quarter-veneered side above a shaped apron applied with a c-scroll and scallopshell cast mount flanked by scrolls and foliage, each knee with a grotesque mask, on claw and ball feet, the whole inlaid with parquetry; marble tops restored the smaller pair: Each of gentle serpentine form with moulded brèche violette marble tops above two serpentine drawers and serpentine sides, with eagle's head handles, the escutcheons cast with stylised scallopshells, c-scrolls and foliage, the corner mounts cast with a female mask in a feathered headdress above a grotesque mask amongst rocaille and scrolls above trails of husks, with a handle on each side above a shaped apron, each knee with a grotesque mask on claw and ball feet, the whole inlaid with parquetry Larger pair : one 95cm. high, 131cm. wide, 66cm. deep; the other: 94cm. high, 131cm. wide, 66cm. deep; 3ft.1in., 4ft.3in., 2ft.1½in., 3ft.½in., 4ft.3in., 2ft.1½in.; smaller pair each: 89cm. high, 91cm. wide, 48cm. deep; 2ft.10½in., 2ft.11in., 1ft.6¼in.
Master of the Aeneid (active circa 1530-1535)French, Limoges, circa 1530, Six panels representing scenes from Book VIII of the Aeneid A: The signal for war given by Turnus from the citadel of Laurentum; B: The sacrificial feast of Evander before the walls of Pallantium interrupted by the arrival of Aeneas and his fleet; Pallas, son of Evander, challenging Aeneas, who answers from his vessel; C: Pallas conducts Aeneas from the ship to his father; D: Evander relating to Aeneas how fauns and wild men once dwelt in the land; E: Venus making a sign with thunder and the flashing of arms and armour in the heavens to Evander and Pallas with Aeneas and Achates; F: Evander bidding farewell to Pallas who rides forth with Aeneas and Achates to meet Tarcho and the Etruscans appearing from a grove in the background Painted enamel on copper with gilt highlights, within a later glazed partially gilt wood frame Panels: 21 by 19.5cm., 8¼ by 7¾in. each Frame: 65.5 by 82cm., 25¾ by 32¼in.
A George II gilt-brass mounted and marble topped carved mahogany serpentine commode the design attributed to William Kent and probably by John Boson or Benjamin Goodison circa 1740, With an inset white marble slab, the top with a gadrooned moulding to three sides above a frieze drawer with a Greek key border and rosettes above three further drawers with finely chased gilt-brass gryphon and flame loop handles between corners headed by lion masks above tapered reserves of graduated overlapping discs ending in hairy paw feet, the underside with large castors 91cm. high, 109cm. wide, 59cm. deep; 2ft. 11¾in., 3ft. 7in., 1ft. 11¼in.
Attributed to Giovanni Ambrogio Miseroni (1551-1616), Italian, Milan, late 16th century, Chalcedony cover carved with Venus and Cupid sleeping in a shell, with silver gilt mount in the form of Jupiter as a swan Chalcedony (known as Calcedonio di Grigioni - chalcedony from Graubünden in Switzerland), the silver mount struck twice with post 1893 French control marks for items of unknown origin Chalcedony (agate) from Graubünden (Switzerland), the silver mount marked twice with French control marks of a swan (used for items traded after 1893) 9 by 20.5 by 14.1cm., 3½ by 8 1/8 by 5½in. overall weight: 983.8gr., silver gilt mount alone 659.4gr
A RARE IMPERIAL NUMBERED 'JUN' NARCISSUS BOWL EARLY MING DYNASTY, Of shallow circular form, the rounded sides gently curving down to a flat base supported on three ruyi-shaped feet, decorated on the exterior with a band of evenly spaced bosses between two narrow bands below the slightly incurved rim, a thick glaze of milky lavender tone mottled with purple flecks applied to the interior and exterior, thinning to a mottled lavender and olive-green below a second band of bosses around the base, and to a greenish-brown tone on the raised parts and feet, the base incised with the character san, 'three', and with a thinner brown glaze and a ring of eighteen spur marks revealing the gray body Diameter 8 1/4 in., 21 cm
A pair of Italian rosewood Pietre Dure mounted, inlaid ebony cabinets, Roman, circa 1625, on a pair of Regency mahogany and parcel-gilt stands possibly to a design by C H Tatham, first quarter 19th century, Of architectural form, the upper parts with pediments surmounted by standing classical figures and putti flanked by female figures with summer and autumn attributes, fitted with drawers, each with a central cupboard enclosing a fitted interior, with an arcaded alcove, inset with panels of lapis lazuli, agate, quartz and various Roman marbles, the pilasters formed of four gilt bronze standing figures and with gilt bronze capitals with rams heads, on plinths supported by four gilt bronze crowned eagles, the mahogany and parcel gilt stands with a moulded top with gadrooned edge above a central frieze with Greek key decoration above two parcel gilt caryatid supports with floral drop swags, the back panel with a central plaque of a female mask centred by gilt wood sun rays, on lion paw feet 222cm. high, 92cm. wide, 43.5cm. deep; 7ft. 3in., 3ft., 1ft. 5¼in.
AN ATTIC RED-FIGURED KYLIX attributed to Douris as painter and to Python as potter circa 480 b.c. Tondo: A maenad striding to the right but looking left, clad in a patterned sakkos, a chiton and a swallow-tailed himation, holding an up-ended thyrsos in her left hand and the tail of a cheetah in her right, an inscription to her right praising her beauty, enclosed within a band of single false meander squares alternating with crossed squares Side A & B: The "Death of Pentheus," one side with the Theban women tearing to pieces their young king, with two women clad in chitons, panther skins knotted around their necks, each gripping an arm and Pentheus' head, his entrails spilling out from his torso, a woman, perhaps Pentheus' mother Agave, clad in a chiton to the left gazing skyward, clutching the king's mantle in her hands, further to the left a fourth woman in a chiton and himation grips a dismembered leg from which a bone protrudes, while to the right a kneeling nude satyr, his bearded face turned frontal, raises his hands in horror at the scene unfolding before him; the other side with a woman to the right wearing a chiton, her face turned frontal, holding Pentheus' thigh in her hands, a woman to her left in a chiton and himation, holding a leg aloft in her left hand, and to the far left a woman clad in a chiton, walking left but turning back, her head facing front, holding a thigh, while, between them, amidst the chaos, Dionysos calmly sits, holding his kantharos in his right hand and a vine branch in his left, looking back at a piping satyr; with palmettes below and on either side of the handles, the stem repaired in antiquity 11½ in. (29.2 cm) diameter
A Monumental Quartz Granite Vase, Roman Egypt, probably Alexandria, circa 1st Century B.C., A Monumental Quartz Granite Vase With pedestal foot, ovoid body with rounded shoulder, flaring mouth, and twin inward-turned handles emerging from ivy leaf-shaped terminals. 68.5 cm high x 54 cm; 2 ft. 2½ in., 1 ft. 7¾ in.
A Meissen white model of a fox modelled by J. Kirchner and J.J. Kändler Circa 1732 Modelled seated on its haunches with a hen in its jaws, its brush curled beneath its right back leg, with incised eyes and with lightly incised wavy coat, the fowl with incised plumage and with its left foot lacking before firing, on a shaped oval rockwork base with nine pierced circular apertures, the unglazed underside of the base with three oval apertures, the unglazed interior of the fox's ears with brown cold enamel decoration The model 18 in. (46 cm.) high, the base 13 3/8 in. (34 cm.) wide
A parcel-gilt silver standing salt, unmarked, probably French or Flemish, circa 1560, Rectangular, on elongated lion paw supports headed by acanthus below columns and hatched S-scrolls, the sides fitted with basse-taille enamel panels of The Annunciation and the Coronation of the Virgin, enclosed by engraved matted arabesques, interrupting embossed and chased panels of The Nativity and The Resurrection, detachable cover with similar enamelled lozenges of the Four Evangelists, surmounted by warrior finial standing on a disc of marine ornament with basket of fruit above engraved arabesques, later French and Dutch control marks only 35cm., 13 3/4in. high 1479gr., 47oz. 11dwt. all in
A pair of Italian gilt-bronze-mounted marble busts of blackamoors, Venetian, 18th century, on gilt-bronze-mounted brass and tortoiseshell inlaid première-and contre-partie boulle marquetry ebony veneered pedestals stamped N. P. Severin, Régence, circa 1715 18th century, The marble busts with nero del Belgo heads, giallo antico veneered cloaks, the lapels in alabastro striato, over rosso antico tunics with pierced gilt-bronze frogging and buttons, with green sashes their feathered turbans with gilt-lead tassels; on pale brown marble socles; one pedestal in première-partie the other in contre-partie boulle marquetry, each with a rectangular brass inlaid ebony veneered top above a guilloche border enclosing flowerheads above a concave frieze with an acanthus spray at each corner above a bearded Bacchic mask and a gilt-bronze stippled band centred by a demi-lune, the front and sides with a boulle marquetry panel with rinceaux and foliage and scrolls within a foliate gilt-bronze border within brass borders, the flared base with a gilt-bronze alternating band of foliage, on a plinth base with a central ogee shaped reserve; one stamped twice N. P. Severin, the other once ; later iron brackets on the reverse, some minor losses to inlay Busts: one 96cm high, 66cm wide, the other 93cm high, 66cm wide; each pedestal: 131cm high, 52cm wide, one 34.5cm deep, the other 33.5cm deep; 3ft.1½in., 2ft.1½in., 3ft.½in., 2ft.1½in., 4ft..3in., 1ft.8in., 1ft.1in., 1ft.¾in.
Pablo Picasso (1881-1973) Grand vase aux femmes voilées stamped and marked 'MADOURA PLEIN FEU/EMPREINTE DE PICASSO 1', inscribed and dated 'Vallauris MAI 50' (inside the rim) partially glazed terracotta vase with white engobe Height: 25¼ in. (64.1 cm.) Executed in May 1950; this is the unique prototype for the edition of 25
Jean Le Page (1779-1822) French, Paris, January 1814, The Roi de Rome Pistols Each signed: Le Page à Paris / Arq.er de L’Empereur, inscribed: LE PAGE, respectively numbered 1 and 2, inscribed with the serial number: 1703 and dated: Janv. 1814 Blued steel, encrusted and inlaid with gold, with walnut and ebony stocks, within a thuya wood veneered case with a wood core, inlaid with mother of pearl and ebony, with silver gilt and steel mounts, and lined with red velvet, with ivory, tortoiseshell, mother of pearl and steel accessories Pistols: 20.6cm., 8 2/16 in. overall including stocks. Barrels: 12.6cm., 4 15/16 in. Case: 5.8 by 24.5 by 15.7cm., 2 4/16 by 9 10/16 by 6 3/16 in.
Workshop of Baldassare UbriachiItalian, Florence or Venice, circa 1390-1410, Triptych with scenes from the Life of Christ Certosina wood, bone and horn, with remnants of polychromy on the shutters Open: 113 by 64.5cm., 44½ by 25 3/8 in.
A pair of magnificent porcelain vases, Imperial Porcelain Manufactory, period of Nicholas I (1825-1855), dated 1841, Each of campana form on circular spreading fluted foot and square ormolu socle, with moulded and gilded foliate calyx and reeded handles above wavy acanthus applied to the lower body, the central panel of each painted with a Dutch Old Master picture, one signed 'Stoletov' and dated 1841, the other signed 'P. Shchetinin' and dated 1841, further inscribed 'Du Iar din' (Dujardin), within leaf tip ciselé borders, the reverse of each with a gold diaper pattern of foliate scroll lozenges on white ground, with blue Imperial cipher of Nicholas I Quantity: 2 Height: 67.5cm, 26 1/2 in.
A LOUIS XVI ORMOLU-MOUNTED CHINESE PORCELAIN AND RED GRIOTTE MARBLE VASE The mounts attributed to Pierre-Philippe Thomire, the porcelain Qianlong and mid-18th Century The gadrooned rim interspersed with wheatsheaves, the glazed ovoid porcelain body with four fluted supports with satyr-mask terminals swagged with fruiting vibes, the base with an oak and acorn border above a gadrooned base with berried boss, the downswept fluted legs with pieds de bîche, on an eared circular red griotte marble plinth inset with milles raies panels and a central berried sunflower, on moulded bun feet, the porcelain body with old restorations, the berried finial boss originally with a foliate cup immedialtely above it, the berried sunflower inset to the centre of the plinth replaced, the milles-raies sunk-panel to the base probably originally with a pearled border mount as on the Getty vase (see below) 38½in. (98cm.) high; 27½in. (70cm.) wide
A pair of gilt-bronze-mounted Chinese crackle glaze celadon pot-pourri vases the mounts Louis XV, mid 18th century, the porcelain 18th century, Each formed from two bowls with crackle glaze of light blue colour, the lid with a finial cast in the form of a stalk, the gilt-bronze pierced rim cast with acanthus below gadroons, centred by flowerheads and foliage, the scrolled handles cast with leaves, supported on a gilt-bronze base cast with rinceaux, flowers and rocailles; one stamped with the Crown 'c' poinçon; restorations to the porcelain, both lids with slightly different crackle glaze (2) Total height: 40cm., diameter 41cm. (including handles); 1ft. 3¾in., 1ft. 4in.
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