Adrian Alan

A Fine Pair of George III Style Giltwood and Composition Oval Mirrors In the Manner of Robert Adam. Each mirror having an oval plate surmounted by an urn cresting with scrolling ac...

A Fine Louis XV Style Gilt-Bronze Rococo Lantern. Finely cast with fronded and scrolling acanthus and ribbon tied foliate decoration. French, Circa 1870.

A Rare Crystal and Gilt Forty-Three Piece Table Service by La Cristallerie de Saint Louis. This fine and luxurious service is in the famous ‘Thistle’ pattern developed by La Cristal...

A Fine Set of Ten Sèvres-Style Armorial Cabinet Plates. Marked to the reverse with blue underglaze interlaced ‘L’s’. Each plate is finely painted and gilt with a dark powder-blue ...

This unusual pair of Sèvres-Style jardinières are each of square section inset with finely painted porcelain panels, depicting floral sprays and genre scenes in the manner of Boucher...

John Willis-Good (British, 1845 - 1879) ‘After The Race’. A Silvered Bronze Equestrian Group Cast By Elkington & Co, Birmingham. Depicting a racehorse with jockey up, at the dynam...

A Large Patinated Bronze Statue Of ‘A Horse Calling’, By Isidore-Jules Bonheur (French, 1827 – 1901). Bronze with a dark brown patina, on a veined green marble base. Signed ‘I. BON...

A Louis Philippe Gilt-Bronze 'Reims Cathedral' Musical Mantel Clock, The Clock Movement By J. Charles, Paris. The Musical Movement By Martinet & Benoit, Geneva. Modelled as the We...

A Renaissance Revival Carved White Statuary Marble Centre or Garden Table. The replaced rectangular Carrara marble top with ogee bevel-cut edge. It is supported on two lyre-shaped t...

A Fine Louis XVI Style Gilt-Bronze Mounted Mahogany and Amboyna Vitrine Cabinet-On-Stand, Attributed to Henry Dasson. This fine vitrine cabinet has an upper section with a shaped re...

A Palatial Victorian Gilt-Bronze Mounted Bureau Plat. This palatial bureau plat is of grand proportions. The top is of serpentine rectangular out-shape and is lined in dark green le...

A Rare Pair of George III Style Gilt-Bronze Mounted Mahogany Cellarettes. This unusual pair of hexagonal cellarets have a hinged top with a knopped finial, opening to an interior fi...

A Napoleon III Gilt-Bronze and Algerian Onyx Pedestal. Of classical form, the pale figured onyx column with square section platform top with moulded edge, above a finely cast gilt-b...

A Louis XVI Style Gilt-Bronze and Jasperware Mounted Cartel Clock and Companion Barometer, After the Model Attributed to Pierre Gouthière. The clock and barometer each surmounted by...

A Louis XV Style Gilt-Bronze Fire Screen. Of cartouche outshape with a pierced frame cast with rocaille and scrolled acanthus enclosing a metal mesh screen centred by flowering bear...

A Small Gilt-Bronze Mounted Louis XVI Style Mahogany Commode With a Grey Marble Top. This fine commode has a shaped grey marble top with canted corners, above a frieze with a gilt-...

A Pair of Louis XVI Style Gilt and Patinated Bronze Figural Candelabra. After The Model by Clodion. Each modelled with a dancing putto, emblematic of music and wine. Supporting vine...

Émile-Coriolan-Hippolyte Guillemin (French, 1841-1907) A Fine Multipatinated Bronze Orientalist Bust of A Young Woman. Signed and dated 'Ele. ...

An impressive and large cut-glass ceiling light of quatrefoil outline, hung all over with cut-glass pendants, chains and drops. French, Circa 1920.

A Large and Important Louis Philippe Period Gilt-Bronze Three-Piece Clock Garniture. Attributed to the Feuchère family. The clock movement by Hémon. In the Renaissance revival style. Comprising a clock and a pair of nine-light candelabra. The clock case of architectural out-shape with cherubic term figures supporting a rectangular pediment centred by an urn. The sides of the clock tower cast in relief with strapwork and foliage. The dial inset with enamel Roman numeral chapters. The twin-barrel clock movement with tic-tac escapement, silk suspension and countwheel strike to bell. Pendulum and winding key. The candelabra as twin-handled vases supporting tiered branches with candle nozzles. Modelled en suite with naturalistic scrolls and foliage. Surmounted by finials modelled as an eagle toying with a serpent. The scrolled handles flanked by cherubic figures and serpents. The bodies fronted by bacchic masks and supported on socles bearing angels. France, Circa 1835. The clock movement signed ‘HEMON A PARIS’. The clockmaker Claude Hémon was established at rue de St. Martin circa 1810-1820. Dimensions, the clock: Height : 106 cm 42 inches Width : 58 cm 23 inches Depth : 38 cm 15 inches Weight : 72 kg Dimensions, the candelabra: Height : 104 cm 41 inches Width : 36 cm 14 inches Depth : 36 cm 14 inches Weight : 28 kg (each) This magnificent clock garniture of palatial size is designed in the Renaissance revival style and dates to the Louis Philippe period. Executed in sculptural gilt-bronze with leaves, scrolls, masks and exotic birds, the naturalistic ornament represents an elaborate system of allegories and mythological iconography which recall the influence of Italian Mannerist art in France. The distinctive design reflects a new style which replaced the neoclassism of the French Empire period. With the fall of Napoleon Bonaparte, artists and designers sought a new decorative vocabulary with which to aggrandise the Bourbon restoration. With the French revolution and Louis XVI’s execution still within living memory, it seemed too soon for a revival of the style of the Grand Siècle. Instead they looked further back to the time of François I, whose patronage of Italian artists had brought the Renaissance to France. The idea of a renaissance revival appealed to the new Bourbon monarchs and their patronage ignited great creativity in the arts. The reigns of Louis XVIII and Charles X, who were brothers of the late King, Louis XVI, and later of Louis Philippe I, nicknamed the Citizen King, coincided with the enlightenment and the dawn of the industrial age. Great technical progress was made in metallurgy and casting which raised the art of bronze making to new heights in the hands of great masters such as Pierre-Philippe Thomire (1751-1843) and Pierre- Jean-François Denière (1774-1866). The renaissance provided a rich and varied source book in architecture, furniture and other decorative arts for designers such as Claude Aimé Chenavard (1798-1838) whose Album de l’ornemaniste (1835) became a reference work. Léon Feuchère (1804-1857) also produced drawings of interiors, silver, bronzes and furniture and was a scion of the prominent family of bronze castors established by his grandfather Pierre-François Feuchère (1737-1823) who had worked as a gilder for the bronze caster Pierre Gouthière before setting up a bronze foundry that would become one of the largest in Paris under the management of his son Lucien-François (d. 1841) and grand-son Armand (1797-1866). A number of drawings by Léon Feuchère have recently been discovered by the Rijksmuseum and probably belonged to the collection of Louis-Philippe-Albert, duc d’Orléans, comte de Paris (1838-1894). Louis-Philippe-Albert was the grandson of the French king, Louis-Philippe I (1773-1850), who granted him the title of comte de Paris, and the son of Ferdinand-Philippe, duc d’Orléans (1810-1842). Ferdinand-Philippe was an important collector and sponsored many young artists to create metalwork objets d’art, notably a celebrated surtout de table made by Claude-Aimé Chenavard and Jean-Jacques Feuchère (1807-1852), a cousin of Armand and Léon. Principally remembered as a sculptor, Jean-Jacques Feuchère trained in the family foundry and designed small objects, cigar boxes...

An Exhibition Gilt-Bronze and Champlevé Enamel Jardinière, By George Servant, Paris. This magnificent ‘Louis Seize’ jardinière is designed in the Néo-Grec style. The handles are su...

An Important Louis XV Style Gilt-Bronze Mounted Lacquer Commode, by Maxime Secrétant, Paris. Of bombé outshape with Portor marble top. The front with two deep drawers and applied w...

A Louis XV Style Gilt-Bronze Mounted Table by François Linke. Signed to the bronze rim ‘Linke’. Linke Index Number. 593. This rare table can serve as a desk, dressing table or o...

A Large Rosso Antico Marble Model of the Sarcophagus from the Tomb of the Scipios. Attributed To The Workshop Of Benedetto Boschetti. The lid with palm-scrolled ends, is inscribed ...

Sir William Hamo Thornycroft (British, 1850-1925) A Patinated Bronze Statue Of Teucer The standing figure of the male nude holding his bow in his outstretched left hand, raised on a...

A Pair of Mintons Pâte-sur-pâte Peacock Blue Moon Flasks, Decorated by Marc-Louis-Emmanuel Solon (1835–1913). Date cypher for 1890. Recorded as shape no. 1819. Each signed 'L(ouis) Salon'. With gilt Mintons globe mark, impressed uppercase mark and retailer's mark for Phillips, Oxford Street, London, Faint impressed marks ‘1819’. Each tinted and glazed parian vase of moon flask or pilgrim bottle...

A Fine English Tripod Table Regulator Clock by Thomas Cole, With Integral Thermometer and Barometer, Retailed by Hunt & Roskell, London Signed to the dial for the retailer ‘Hunt & Roskell, London.’ No. 1318 /38 The circular six-inch silvered dial with cast bezel, signed ‘Hunt & Roskell, London’, above Roman chapters and blued steel spade hands, set with a large subsidiary seconds dial below XII, the centre finely engraved with scrolling strapwork decoration. The steel winding square protruding through an engraved and shaped plate immediately below 6 o'clock with handset achieved by adjustment to the rear. The movement with tapered plates joined by cylindrical screwed pillars, a two-part backplate, a going barrel, and deadbeat escapement. The pendulum suspended from the apex of the tripod from a G-bracket, with plumb line above, fine regulation achieved by a sliding cylindrical weight on the rod, terminating in a heavy silvered spherical bob secured via Cole's pendulum-locking system. The case formed of three cylindrical rods set on a gilt and stepped circular base engraved with scrolling foliage, the recessed centre with a semi-circular glazed barometer with silvered register scale, blued steel hand and manually adjustable gilt recording hand. The tilted thermometer within an engraved and gilded surround. Below the tip of the pendulum is a beat scale resting on a bimetallic bar providing thermal compensation, the base resting on three adjustable gilt-metal levelling nuts. Retaining its original glass dome and brass winding key. England, Circa 1855. This fine and rare timepiece by Thomas Cole is a masterpiece of design. Described by Hawkins in 'Thomas Cole & Victorian Clockmaking' as “the first English table regulator for a gentleman’s library table,” Cole’s strut clock underwent over eight iterations before achieving a design that combined precision with extraordinary elegance. The use of a tripod to determine the optimal pendulum suspension point is just one of several ingenious mechanisms Cole employed. Three adjustable nuts serving as feet allow for effective levelling of the clock, while a plumb line and bob ensure precise vertical alignment. Relocating the winding square directly beneath the dial eliminates the risk of scratching the surface or damaging the hands, while the inclusion of a thermometer, angled at 45 degrees, effectively conceals the beat scale and pendulum locking mechanism. Ingeniously designed, the locking mechanism positioned just below the pendulum’s tip includes a beat scale resting on a brass bar that can be raised to secure the pendulum in place. This mechanism also provides thermal compensation through a bi-metallic strip, which automatically raises or lowers the bob in response to temperature fluctuations. Both inventive and aesthetically striking, this rare clock exemplifies the highly ornamental Victorian timepieces...

A Pair Of ‘Sorrento’ Stained Olive and Fruit Wood Pictures By Michele Grandville (Italian, 1821-1893). Depicting ‘Roman Tarantella Dancers’ and ‘A Pompeian Harp Recital’, each with ...

Sir George James Frampton (British, 1860-1928) A Patinated Bronze Statue Of Peter Pan Depicted playing the pipes and conducting with his right hand. Standing on a naturalistically cast base. Signed 'G F' in a monogram and 'P P' in a roundel. Dated 1913. England, Dated 1913. Provenance: Gerald Rufus Isaacs, 2nd Marquess of Reading (1889 –1960) and Eva Violet Mond Isaacs, Second Marchioness of Reading (1895–1973). Thence by descent until sold in 1996. The present charming statuette of Peter Pan, dated 1913, is an exceptionally fine and early reduction of the life-size bronze exhibited by Frampton at the Royal Academy in 1911. Barrie unveiled the statue in Kensington Gardens on 30 April 1912, without fanfare and without permission, so that it might appear to children that the fairies had put it in place overnight. He published a notice in The Times newspaper the following day, 1 May: "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...

A Fine Louis XVI Style Gilt-Bronze and Black and Gilt Japanese Lacquer Mounted Mahogany and Bois Satiné Bonheur du Jour, By Henry Dasson. The upper structure faced with three lacqu...

A Fine Louis XVI Style Gilt-Bronze and Moulded-Glass Twenty-Four Light Chandelier by La Compagnie des Cristalleries de Baccarat. Moulded 'Baccarat' signature to the drip trays. The chandelier has a circular corona mounted with Acanthus and hung with drops and swags above a circular cage frame issuing tiers of scrolling acanthus wrapped candle branches with glass drip-pans and circular nozzles, interspersed by finely cast putti figures. The chandelier is hung overall with faceted drops and terminals. The twenty-four light model, like the present example is illustrated in Baccarat's 'Tarif des Articles d'Eclairage', from the turn of the century, as 'Lustre Série E.193'. It is priced at 970 old French Francs...

A Louis XVI Style Gilt-Bronze and Lacquer Mounted Mahogany Cabinet by Paul Sormani. Signed to the lockplate ‘P. SORMANI’, 10 rue Charlot à Paris’. The recta...

An Empire Style Gilt-Bronze Mounted Mahogany Table de Salon, with Tiger's Eye Gemstone Top. The rectangular top is veneered in Tiger's Eye gemstone in radiating geometric patterns. ...

A Fine and Large Pair of Vienna Style Porcelain Vases and Covers, on Stands. Each of elongated slender out-shape. Each with cobalt blue-ground neck and cover with gilt-embossed deco...

A Magnificent Pair Of Louis XVI Style Gilt-Bronze Mounted Mahogany Vitrine Cabinets-On-Stands, Attributed to Henry Dasson. Each ‘D’-shaped cabinet with three-quarter balustrade gal...

An Important Louis XVI Style Marquetry Inlaid Marble-Top Commode by Paul Sormani. Stamped twice beneath the marble top 'SORMANI Paris'. The lockplate engraved 'P. Sormani Paris 10 ...

A Large and Exceptional Napoleon III Period Gilt-Bronze and Sèvres Style Porcelain Three-Piece Clock Garniture. By Denière, Paris. Comprising a mantle clock and pair of eight-light...

A Pair of Regency Style Gilt and Patinated Bronze Floor Lamps or 'Torchères', After The Models By James Smethurst of New Bond Street. Each with central lidded urn above three fluted branches with tulip-shaped glass shades supported by three pelicans, the stands with rams’ head masks above monopodia supports on paw feet, England, 20th Century. This model of lamp, without pedestal, was invented by the Regency lamp-manufacturer James Smethurst of New Bond Street, whose registered mark of post-1814 has been recorded on period examples. A set of four lamps of identical pattern - although not apparently signed - is in the collection of the Dukes of Devonshire at Chatsworth House, Derbyshire. These were originally supplied for the Saloon of Devonshire House, London, where they are recorded in Henry Hunt's watercolour of 1817. Two were exhibited in 'Country House Lighting...

A Rare and Large Pair of Florentine Cartouche-Shaped Giltwood Wall Mirrors. Each surmounted by an elaborate pierced rocaille cresting of shells and trailing flowers. The frame wais...

A Louis XV Style Gilt-Bronze Mounted Mahogany Console Table, With Marble Top, By François Linke, Paris. Surmounted by a serpentine-shaped Brèche de Saint-Maximin marble top. The fri...

A Napoleon III Gilt-Bronze and Pietre Dure Mounted Ebonised Side Cabinet. This fine side cabinet has a rectangular Belgian black marble top above a gilt-bronze guilloche and flowe...

A Fine Louis XVI Style Gilt-Bronze and Sèvres Porcelain Mounted Cartel Clock and Aneroid Barometer En Suite, After the Models by Martinout and Passemant. The clock having a circula...

A Fine Napoléon III Gilt-Bronze Three Piece Clock Garniture Comprising a mantel clock and a pair of seven-light figural candelabra. Designed as a celebration of music and lyric poe...

A Fine Mahogany Safe Cabinet with Integral Chubb Safe. The cabinet of fine flamed mahogany with moulded cornice above an arch panelled door flanked by fluted pilasters opening to an...

A Very Fine Gilt-Bronze Clock With A White Marble Base by François Linke. The case signed 'Linke'. This rare example of a clock by François Linke has a twin train eight-day mov...

A White Marble Figural Group of Venus and Cupid by Henri Weigele. Signed ‘H. Weigele’ and titled ‘IL PASSEPA' Born in Schierbach, Haut-Rhin, Henri Weigele (1858- 1927) studied sc...

A Set of Three Neoclassical Style Gilt-Bronze and Rose Granite Corinthian Columns After The Model by Pierre Gouthière. Each acanthus leaf to the capitals individually cast. The qu...

A Gilt-Bronze Mounted Empire Style Mahogany Settee. France, Circa 1890.

A Fine Louis XVI Style Gilt-Bronze Cherub Twelve-Light Chandelier, after the model by Pierre Gouthière for Marie Antoinette. The chandelier having elaborate acanthus scrolling arms ...

A Louis XVI Style Gilt-Bronze Cylindrical Four-Light Lantern. This lantern is of cylindrical form with ribbed uprights supporting a frame with stiff-leaf borders and floral swags ...

A Pair Of Napoleon III Patinated-Bronze Figures, Modelled As Classically Robed Maidens Bearing Urns, by Victor Paillard. The models attributed to Albert-Ernest Carrier-Belleuse (French, 1824-1887). Each with oval stamp 'VOR PAILLARD / FANTS DES BRONZE / A PARIS' France, Circa 1865 Victor Paillard (French, 1805-1886) Paillard first exhibited his work at the Exposition des produits de l'industrie in 1839. He had been experimenting with gilt and silvered bronze since...

A Pair of Regence Style Carved Giltwood Console Tables. These palatial console tables are finely carved, the frieze centred by a mask between pierced acanthus leaf plumes. The heav...

A Pair of Charles X Gilt-Bronze Reversible Cassolettes / Candlesticks Each with pierced dome lid surmounted by a butterfly finial. The lids reversible, the undersides fitted with c...

A Louis XVI Style Gilt-Bronze Mounted Bois Satiné Parquetry Inlaid Writing Table, By Emmanuel Zwiener, Paris. The top of gilt-tooled tan leather surrounded by a stiff-leaf cast edge...

A Large Louis XVI Style Patinated Bronze and Rouge Griotte Marble Figural Pedestal Clock. The patinated bronze figural group of Bacchantes is cast from a model by Claude Michel, kn...

A Fine Louis XV Style Gilt-Bronze Mounted Marquetry Pedestal, With Marble Top, By François Linke, Paris. The shaped Brocatelle Violette d’Espagne marble top above a serpentine case...

A Pair of Italian Neoclassical Giltwood Pier Mirrors. Each mirror having a rectangular plate with husk-carved inner slip and mirrored outer borders divided by rosettes, the entrel...

A Gilt-Bronze Mounted Chinese-Style Porcelain Vase With Dragon Handles and Elephant Head Feet, In the Manner of Ferdinand Barbedienne. French, Circa 1860.

A Very Fine Pair of Regence Style Gilt-Bronze and Rouge Griotte Marble Jardinières on Stands. Each jardinière has a scrolling foliate frieze above a tapering rouge Griotte marble...

A Rare Cut-Crystal Glass, Gilt and Silvered Bronze Wine Cooler, By Cristalleries de Baccarat, Paris. The removable lid with an central aperture to allow the bottle neck to protrude....