Adrian Alan

A Fine Pair of Napoléon III Gilt-Bronze and Patinated Bronze Athéniennes Modelled in the Classical Antique Style, Attributed to Henri Picard. The bronze impressed with the number R...

A Fine And Decorative Italian Gilt Wood Mirror Carved With Allegorical Figures Of The Continents And The Seasons. The rectangular mirror plate has a la...

A Fine Set of Four Cut Crystal Six-Light Silvered Wall Appliques. The backplate issuing six ‘S’ - shaped silvered arms with plain silver sconces and shaped crystal drip trays. The ...

A Pair of Restoration Period Gilt and Patinated Bronze Four-Light Figural Candelabra. French Circa 1830.

A Pair of Gilt-Bronze Mounted Mahogany Salon Chairs by François Linke, The Design for the Mounts Attributed to Léon Messagé. Signed ‘FL’ to back of the bronzes. The underside seat...

A Patinated and Gilt-Bronze Hanging Clock, with an enamelled dial and Arabic Numerals. The dial signed 'E. Artult / Moulins S.Allier'. The clock with a twin-train movement and a ...

The Warwick Cup An Important Victorian Silver Presentation Horse Racing Trophy For The 1853 Warwick Races, by Elkington & Co. England. Modelled by Pierre-Emile Jeannest (French, 18...

A Fine Paris Porcelain Empire Gilt-Decorated and Floral Painted Coffee Service. Comprising a coffee pot, hot-water pot, milk jug, sugar bowl...

A Pair of Orientalist Patinated-Bronze Figural Torchères, Entitled 'Les Deux Indiens'. Cast by Ferdinand Barbedienne, Paris, From the Models by François-Christophe-Armand Toussaint (...

A Pair of Louis XV Style Candlesticks. Each baluster stem cast with C-scrolls and below a nozzle and drip-pan, on a spreading rocaille-cast and moulded circular base These charmi...

A Pair of Louis XVI Style Gilt-Bronze Three-Light Wall Appliques, After The Model By Jean Louis Prieur. Each modelled as a putto term figure issuing three laurel cast branches terminating in circular stiff-leaf cast drip-trays and fluted nozzles, beneath a neoclassical pediment and flaming urn. Designed in the architectural style of the goût grec, these wall lights derive from a drawing by the ‘maître sculpteur’ Jean-Louis Prieur (b. 1732-6 d. 1795), for a similar wall light with a putto figure, executed circa 1770 and sold Sotheby's Monaco, November 26, 1979. France, Circa 1870. One of the leading exponents of the Neo-classical style, Prieur was received as a ‘maître sculpteur’ in 1765, then ‘maître-fondeur en terre et sable’ in 1769. He initially studied sculpture at the Académie de Saint-Luc, Paris in 1765. The following year, working alongside Caffieri he produced a series of designs for furniture, clocks, vases, wall lights and chandeliers for the Polish king's palace in Warsaw. This commission led to work for the French royal family...

A Napoleon III Gilt and Patinated Bronze Three Pieces Figural Clock Garniture. By Charpentier & Cie., Paris. Comprising a mantle clock modelled with playful cherubs with white enam...

A Pair Of Marble Consoles, With Specimen Marble Tops. Each with rectangular specimen marble top inset with various marbles and semi-precious st...

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

A Pair of Large Gilt-Bronze Mounted Sèvres Style Turquoise Ground Porcelain Vases. Each of baluster form with gilt-bronze collar above an inverted pear-shaped body flanked by acanth...

A Pair of Régence Style Gilt-Bronze Curtain Tie-Backs. Each finely cast with a Satyr mask and stylised acanthus. Stamped to the reverse 'PD' & '181'. France, circa 1890.

A Monumental Meissen Porcelain Figural Group of Apollo and the Nine Muses on Mount Parnassus. Comprised of sixteen interlocking parts. Apollo standing holding a lyre and with Pegasus besides a tree, atop a rocky outcrop detailed with foliage and waterfalls above nine goddesses: Calliope, seated and shown writing, representing eloquence and epic poetry. Clio, seated with an open book and blowing a trumpet, representing history. Erato, seated and holding a kithara, representing science and the arts Euterpe, seated and holding a flute, representing music. Melpomene, seated holding a knife and with one hand to her head, representing tragedy. Thalia, seated and holding aloft mask, representing comedy and idyllic poetry. Urania, seated with telescope and globe, representing astronomy and astrology, Polyhymnia, standing with one hand raised and holding a book, representing sacred poetry. Terpsichore, standing, representing dance. Each piece exceptionally finely detailed and painted. The base portions with rocaille edges. On a later black polished wooden base. Multiple blue crossed swords marks. Each piece titled to underside. German, Circa 1880. Mount Parnassus, is a spur of the Pindus Mountains in central Greece and was sacred to the ancient Greeks and in mythology to Apollo, the god of music and poetry and of the Sun and light. Mount Parnassus the mythical centre of poetry, music, and learning in ancient Greece was a popular theme in Barqoue and Rococo art, often substitutable with Athena’s arrival at Mount Helicon from the fifth book of Ovid’s “Metamorphoses”, where she asks the Muses to show her the new spring which gushed forth from the spot where Pegasus “with his hoof of horn opened the earth” (V, 250-260). Here, the mountain, formed from rugged rock cliffs, culminates in a plateau on which the youthful Apollo stands and plays the lyre. The Castalian spring flows from beneath Pegasus’ hoof, representing the source of inspiration and attracting the nine muses, who embody the arts and inspire creation through song, music, and dance. Mount Parnassus was created at the Meissen porcelain manufactory as a table centrepiece and an earlier version, apparently with only five muses, is listed in the inventory of the pastry shop of the Meissen manufactory manager and cabinet minister Heinrich Graf Brühl in 1753. The storage in the pastry shop of approximately 3,000 objects and dishes, including many individual parts for centrepieces, is related to their function as table decorations, replacing decorations previously made by the confectioner from perishable materials such as sugar or wax. The purpose of this table decoration was as a feast for the eyes to accompany the feast of the banquet. The sculptural figurines often depicted a particular theme, with characters drawn from theatre and opera, from classical mythology or pastoral idylls. Allegories and mythological themes, such as the glorification of fine arts, were also popular. Stylistically, Mount Parnassus fits Kändler’s style of the 1740s, and was sold by Brühl in 1762 to Frederick the Great of Prussia who used mythology as a means of self-expression and had already ordered individual figures of Apollo and the Muses as table decorations in 1744. Today it is in the Museum of Applied Arts, Frankfurt (inv. no. M.L. 41). There is another version of Mount Parnassus, from the collection of Prince Alexander Dolgorukoff, in the Hermitage in Saint Petersburg. The present version dates to the second half of the nineteenth century when there was a great revival of Kändler rococo figurines which were reissued and a “Second Rococo”. Another nineteenth century example is in the collection of the Museo Francesco Borgogna, Italy (inv. 1906, XIII, 19-20). These nineteenth century versions were made by the Meissen factory using Kändler's period models. It is recorded that a new version of Mount Parnassus, dating to the 1880s, was part of the Royal Porcelain collection in Dresden: 'In the porcelain collection there is a new version from the 1880s based on the old models, the largest group of this genre, the Parnassus, which shows the named muses all around on the lower part of the rock, each practising their own art, while on the top there is Apollo with the lyre and next to it the Castalian spring rises from the hoofbeat of Pegasus. Each figure is executed individually with its rocky background, and all the pieces are then fitted together, as we have already seen in his earlier, larger compositions. The rock pieces are finished off like a pedestal at the bottom with Rococo ornaments.' (Jean Louis Sponsel, Kabinettstücke der Meissner Porzellan-manufaktur von Johann Joachim Kändler, Leipzig, 1900, pp. 203-204). Kunst und kunsthandwerk; monatsschrift herausgegeben vom Österreichischen museum fuer kunst und industrie, Vienna, 1894, v.7 pt.1, p.133. Kari Berling, Das Meißner Porzellan und seine Geschichte. Leipzig 1900, S. 99, 187-200. Helmuth Gröger, Johann Joachim Kaendler. Dresden, 1956. Peter W Meister, Franz Adrian Dreier, Figürliche Keramik aus zwei Jahrtausenden. Kat Museum für Kunsthandwerk, Frankfurt. Frankfurt 1964, Nr. 90. Rainer Rückert, Meißener Porzellan, 1710-1810. Kat. Ausst. Bayerisches Nationalmuseum München. München 1966. Stefan Bursche, Tafelzier des Barock. München 1974, Abb. 300. "Tafelaufsatz, Der Parnass", Auswahlkatalog, Museum für Kunsthandwerk (Frankfurt am Main, Germany), 1987, pp. 86-87. Alfred Ziffer, ‘Meissener Porzellanplastik für fürstliches Interieur und Zeremoniell’, Keramos, Issue 241/242, pp. 29–52. MEISSEN The production of Meissen porcelain began in 1710 at the manufactory at Meissen...

A Pair Of Meissen Porcelain Mythological Figural groups, of 'Neptune and Thetis' and 'The Triumphal Procession of Amphitrite'. 'Neptune and Thetis' modelled with the god of the sea ...

A Magnificent and Palatial Neo-Rococo Giltwood Canapé. The top rail exuberantly carved with a trumpeting putto seated in a conche shell surrounded by acanthus leaves and flanked by...

A Louis XVI Style Gilt-Bronze and Wedgwood Porcelain Cartel Clock and Companion Barometer, by Maison Millet, Paris, after the model attributed to Pierre Gouthière. The clock dial is...

An Important Lifesize Statuary Marble Figural Group of a Mother and Her Two Children, Entitled 'Mamma ce n'è una sola' (You only have one mother), By Silverio Martinoli (Italain, 183...

A Pair of North European Mahogany Pedestals. The circular tops above gadrooned rims and leaf carved capitals. Supported on three columnar uprights with leaf carved and ball feet. On...

An Exceptional Pair of Gilt-Bronze Mounted Sèvres Style Iridescent-Ground Porcelain Vases and Covers. Each vase of slender oviform, with domed cover and cone finial, the elongated...

A Large and Very Fine Louis XVI Style Gilt-Bronze Mounted Mahogany Mirror. This fine 'plum pudding' mahogany mirror has an arched pediment centred by a gilt-bronze basket issuing f...

Luca Madrassi (Italian, 1848–1916) A Fine And Large Patinated Bronze Figure Of A Sea Nymph, Entitled ‘La Fée Des Mers’ (The Spirit Of The Seas) The semi clad winged nymph, holding a...

A Pair of Magnificent Giltwood Armchairs. Each magnificent throne chair with oval padded back encircled by an elaborate cresting carved with flowering acanthus, oak branches, and fleurs-de-lis. The top rail with two putti holding an armorial star-shaped cartouche with the interlaced L's of Louis XVIII, King of France, titled ‘Bordeaux 12 Mars 1814’, beneath a crown. This armourial cartouche is the Order of the Armband of Bordeaux. The open arms with padded armrests above exuberantly carved sculptural terminals depicting dragons with human faces. The shaped seat rail with ribbon and rocaille ornament and to the front with a star representing the Décoration du Lys. On cabriole legs. Upholstered in flower pressed blue velvet. France, Circa 1820/30. These magnificent throne chairs commemorate an important event in the Bourbon Restoration precipitating the fall of Napoleon I. They celebrate the surrender of the city of Bordeaux to royal power and to King Louis XVIII (1755-1824), heralding the fall of the first Empire (1804-1815). The Duc d'Angoulême (1775-1844), nephew of Louis XVIII and elder son of Charles X, entered the city of Bordeaux to the acclaim of the crowd on 12th March 1814. Louis XVIII later called it ‘the happiest event of my life’ and on the 29 September 1820 named the heir to his throne, not—like previous Bourbon heirs—Duc de Bretagne, or de Bourgogne, but the Duc de Bordeaux. This armourial cartouche to the top rail of these chairs is the Ordre du Brassard de Bordeaux (The Order of the Armband of Bordeaux). It was adopted for the Royal Guard and volunteers who accompanied the Duc d'Angoulême when he entered Bordeaux on 12th March 1814. It was officially called the Brassard de Bordeaux, or Brassard Vert. At first it consisted of a silk band of green with white borders, worn, as the name signifies, on the arm, but was later adapted as a medal with oval gilt sunburst on which is superimposed an oval medallion of white enamel bearing the royal monogram ‘L.L.’, and surrounded by a green enamelled band with the words ‘BORDEAUX 12 MARS 1814’. The whole is surmounted by the royal crown. In 1824 the issue of the Brassard de Bordeaux was controlled by the Royal Order of...

A Napoleon III Gilt and Silvered Bronze, Onyx and Champlevé Enamel Figural Three-Piece Clock Garniture. By Eugène Cornu for the Société des Marbres Onyx d'Algerie, the figure cast fr...

A Belle Epoque Gilt-Bronze Mounted Mahogany Vitrine Cabinet by François Linke. Of large proportions with central arched glazed door flanked to each side by a recessed glazed door....

A Fine Carved Alabaster Group of The Birth of Venus, On Pedestal. Modelled with Venus standing in an open oyster shell holding the hand of a nymph seated at her feet. On a veined alabaster pedestal. Italy, Circa 1900. The Birth of Venus depicts the moment described by the Roman poet Ovid when, having emerged from the sea in a shell, Venus lands at Paphos in Cyprus. Venus, or Aphrodite in Greek mythology, wears a pearl neckless...

An Important and Monumental Gilt-Bronze and Tole Twelve-Light Chandelier, Attributed to Maison Beurdeley, After The Celebrated Model By François Remond. The vase shaped body is pain...

A Pair of Napoléon III Gilt-Bronze Pedestals. Each modelled with three upright supports of angels and joined by spheres with seated cherubs holding a castle and a mirror. The tripa...

A Near Pair of Belle Epoque Gilt-Bronze Mounted Mahogany Vitrine Cabinets, by François Linke, Paris Each with shaped brêche d’alep marble top. The central doors and flaking glazed p...

An Unusual Patinated Bronze Sculptural Inkwell By Jean-Baptiste Carpeaux (1827–1875). Modelled as a fountain with pedestal surmounted by a bust of ‘Rieur napolitain’ (The Laughing N...

A Fine Sèvres-Style Porcelain and Gilt-Bronze Mounted Ebonised Centre Table. The top inset with a cobalt-blue ground central plaque with portrait of Louis XVI, signed 'Hété', the fo...

A Pair of Regence Style Giltwood Fauteuils. The arched backrest above open arms with acanthus carved supports. The sprung seat above a rocaille carved seat rail and sides centred wi...

A Pair of Napoleon III Gilt-Bronze Neoclassical Vases, Fitted As Lamps. Attributed to Ferdinand Barbedienne. Designed in the Néo-Grec style with scrolled swan handles and body relie...

'Aux Pages' - A Fine Pair of Large Cast Iron Figural Torchères After Mathurin Moreau, Cast by Fonderies D'art Du Val D'Osne. Each figure cast as a young page modelled in the troubad...

A Fine Louis XV Style Gilt-Bronze and Vernis Martin Mounted Side Cabinet, Attributed to Emmanuel Zwiener. This cabinet has a shaped pink and red mottled marble top above an acanthus cast frieze flanked by female herm figures to the angles, below is a central cupboard door inset with a finely painted vernis Martin panel depicting Perseus, on Pegasus, Hastening to the Rescue of Andromeda, and enclosing two shelves; the shaped apron centred by a finely cast Bacchic mask, the legs terminating in acanthus and lion paw sabots. Marked ‘ZN’ to the back of the gilt-bronze mountings for Emmanuel Zwiener and stencilled to the reverse 'KRIEGER PARIS...

A Large and Impressive Baroque Style Carved Giltwood Mirror. The rectangular frame elaborately carved with acanthus leaves and scrolls. The inner frame caved with channelled ribbon-...

A Pair of Napoléon III Gilt-Bronze and Marble 'Corinthian' Pedestals, Attributed to Maison Millet. Each with square rouge griotte marble top and column. The Corinthian capitals fine...

A Fine Louis XVI Style Patinated and Gilt-Bronze Mounted Centre Table, After The Fontainebleau Model, By François Linke. This fine table has a circular top of burr-thuya wood banded...

A Set of Four Venetian Etched Clear and Blue Glass Girandole Wall Mirrors. Each of cartouche shape with marginal plates on a blue glass ground. The acanthus leaf cresting centred by a tulip flower finial. Above a pair of ‘S’-shaped candelarms with glass drip-pans. The central plates etched with allegorical figures representing the four continents...

A Set of Eight Regency Polychrome-Painted And Parcel-Gilt Dining Chairs. In the manner of John Gee. Comprising a pair of open armchairs and six side chairs. Each with cream painted ...

A Large and Important Napoléon III Gilt and Silvered-Bronze Sculptural Three-Piece Clock Garniture, By Charpentier, Paris. Comprising a mantle clock and a pair of figural vases. The...

A Pair of Louis XV Style Gilt-Bronze Mounted Pink Marble Vases, Fitted As Lamps. Each vase of fleur de Pêcher marble entwined with rich gilt-bronze r...

An Empire Style Gilt-Bronze Mounted Satinwood Buffet Cabinet. The attractive and original Verde Antico marble top above three freize drawers. The central door with a burr-amboyna l...

A Large Gilt-Bronze Four-Glass Mantel Regulator Calendar Clock. The architectural case composed of two columns supporting a stepped top. The front and back with bevel glazed doors. The enamel clock...

The Four Seasons Cabinet - A Large and Important Gilt-Bronze Mounted Parquetry Side Cabinet by Zwiener Jansen Successeur. This magnificent cabinet is titled ‘The Four Seasons Cabine...

A Fine Set of Four Massive Aubusson Tapestry Entre-fenêtres. Comprising a true pair and two further panels en suite. Each woven in wools. The design of each with top cartouche issui...

A Rare and Important Micromosaic Inlaid Marble and Giltwood Centre Table. Attributed to Michelangelo Barberi, Rome. The circular top with a border of black marble inlaid with red m...

A Louis XV Style Gilt-Bronze Mounted Marquetry Cabinet-On-Stand, Attributed to Emmanuel Zwiener, Paris. The bombé shaped cabinet surmounted by a domed pediment. The cupboard door with bois de bout floral marquetry within a gilt-bronze foliate frame. The sides with quarter-veneered panels. The cupboard interior fitted with an arrangement of drawers beneath a shelf. The apron fronted by a pull-out writing slide. The leg angles headed by gilt-bronze sculptural busts of soldiers...

A Fine Napoléon III Gilt-Bronze Mounted and Sèvres Style Porcelain-Inset Onyx Guéridon. The circular top inset with a large circular porcelain plaque painted with Madame de Pompado...

A Baroque Style Sculptural Carved Wood Cradle. The oval shaped shell with scrolled finial surmounted by a putto in flight. The front underside with a climbing putto. The shell held...

A KPM Berlin Plaque with a Reclining Lady Reading Amidst a Rocky Wooded Landscape. German, Circa 1880. Dimensions of Plaque: Height: 29 cm 11 inches ...

A Fine Louis XV Style Giltwood and Oil on Panel Three-Panelled Screen, Painted By Juderías Caballero (Spanish, 1867-1951). Signed 'J. Caballero. Paris'. The giltwood frame enclosi...

A Louis XVI Style Gilt-Bronze and Blue Enamel Cartel Clock and Barometer, By Maison Mottheau & Fils., Paris. This exceptional cartel clock and aneroid barometer exhibit the finest p...

A Fine Sèvres-Style Porcelain and Gilt-Bronze Mounted Ebonised Centre Table The top inset with a turquoise ground central plaque of Francis I (1494-1547) at the Battle of Pavia, sig...

'La Nature se dévoilant devant la Science', A Large and Rare Gilt and Silvered Bronze and Marble Figure entitled ('Nature unveiling itself before science') By Louis-Ernest Barrias (...

A Pair Of White Marble Portrait Roundels Of Female Portraits Representing 'Morning' and 'Evening', By Madison Colby (American, 1842-1871). White statuary marble. 'Morning' signed ’...

'Le Jardin d'Armide' (‘The Garden of Armida’) A Rare Wallpaper Panel Designed By Édouard Muller (1823 - 1876) and Manufactured By Jules Desfossé. Woodblock hand printed and polychr...