Adrian Alan

An Important Pair of Empire Style Carved Giltwood Tub Chairs with Green Velvet Upholstery. The Lion Monopedia side supports feature finely carved detail and a realistic pose. These...

A Very Rare Pair of Louis XVI Style Exhibition Gilt-Bronze Mounted Bonheur Du Jours With Lacquer Panels, by Henry Dasson. One cabinet signed 'Henry Dasson / 1880' to the gilt-bron...

A Pair of Sèvres Porcelain Presentation Vases, Designed by Albert-Ernest Carrier-Belleuse. France, Dated 1874. Marked to the base of each vase ‘Doré A Sèvr...

A Very Fine Marble Top Marquetry and Gilt-Bronze Commode by Emmanuel Zwiener. The keyhole escutcheon stamped with the ‘ZN’ mark from the bronze master model. The back of the bronze...

A Large Louis Philippe Period Gilt-Bronze Table Centrepiece or Corbeille (Fruit Basket). Attributed to Guillaume Denière (1815-1903), Paris, Circa 1840. The four sculptural figures of seated children are attributed to Jean-Jacques Feuchère (1807-1852) and represent the four elements of Fire, Water, Earth, and Air. Each figure is accompanied by its corresponding attribute. Fire holds a flaming torch and sits atop a dragon. Water sits atop a dolphin and perhaps originally held a trident spear. Earth holds grapes and ears of wheat accompanied by a lioness and cub. Air holds a billowing robe and sits atop an exotic bird. The circular top of the centrepiece with beaded rim and cast in relief to the basin with strapwork and lion masks. The underside of the basin similarly cast with additional detail of herm figures above a belt of intertwined vine leaf and mice. The whole supported on a baluster upright hung with volutes and fruiting swags above a spreading socle and oval foot. This impressive centrepiece dates to the late 1830s or early 1840s when the patronage of King Louis Philippe I of France heralded a pronounced flourishing in the sculptural art of metallurgy. Such a specific dating can be made with reference to a surtout de table which was commissioned in 1834 by Ferdinand-Philippe, duc d’Orléans and eldest son of King Louis Philippe. That famous and documented surtout de table, comprised centerpieces, candelabra and tazze modelled in a new sculptural style with figures, animals and naturalistic decoration. Designed in the Renaissance revival style by Claude-Aimé Chenavard (1798–1838) and Jean-Baptiste-Jules Klagmann (1810–1867) and made by Chenavard’s pupil Guillaume Denière, the duc d’Orléans surtout was a ‘Gesamtkunstwerk’ with input from many designers, modellers and sculptors including from Jean-Jacques Feuchère (1807-1852), Pierre-Jules Cavelier (1814- 1894) and Antoine-Louis Barye (1795–1875). The surtout was delivered to Ferdinand-Philippe’s apartments at the Tuileries Palace in April 1839. Ferdinand Philippe, duc d’Orléans died in a carriage accident three years later, on 13 July 1842 and following the French Revolution of 1848 the extensive surtout was sold by his widow, the former Duchesse Hélène of Mecklenburg-Schwerin (1814-1858) at Hôtel Drouot, Paris, 18-20 January 1853. It was divided into multiple lots with the sculptural centrepieces by Antoine-Louis Barye, candelabra and decorative dishes widely dispersed. The present centrepiece compares closely to multiple elements of the duc d’Orléans surtout de table, most obviously in the profusion of Renaissance revival strapwork and the figures of children which in appearance, pose and allegorical purpose are directly comparable to related figures of children variously employed as attributes for music, feasting and hunting across the centrepieces and candelabra which make up the Orléans surtout de table. Compare a pair of candelabra titled ‘candelabra with woman playing flute...

A Pair of Néo-Grec Parcel-Gilt Patinated Bronze Vases Mounted as Lamps, Cast by Ferdinand Barbedienne, from the Model by Henry Cahieux. Each vase is finely cast with herm-headed handles flanking a slender elongated neck above a tapering body relief-cast with classical figures and anthemion, raised on a square Belgian black marble bases. Cast signatures 'F. BARBEDIENNE FONDEUR.' and 'HENRY CAHIEUX'. This model of vase was exhibited by Barbedienne at the 1855 Paris 'Exposition Universelle' to great acclaim. They were illustrated in the Exhibition Catalogue alongside a classical revival tripod. The pair of vases together with another were described as follows: The two vases (...) selected from many exquisite and beautiful decorative works in bronze from the atelier of Messrs. Barbedienne & Cie, of Paris; they are formed, and ornamented, on the best models of the ancient Greek. The tall slender shape of the vases with their elongated necks and a flaring mouth, in the form of anamphora with two handles, is derived from ancient Greek Loutrophoroi, which were ceremonial vases...

The lock stamped to the reverse 'DUVIVIER PARIS 77 FG-ST ANTOINE'. This rare vitrine is surmounted by a large and finely carved putto figure holding a torc...

A Pair of Patinated Bronze Figures Of The Egyptian High Priest 'Pastophore' and The Egyptian Scribe 'Hierogrammate' By Emile Louis Picault (French, 1833-1915). Each signed 'Picau...

A Pair of Fine Napoleon III Period Gilt-Bronze Vases, Mounted as Table Lamps, By Henri Picard. These vases exhibit finely detailed bronze work with superb matte and burnished gildi...

A Rare Louis XV Style Gilt-Bronze Inkwell. Designed by Léon Messagé and Cast By The Ferdinand Barbedienne Foundry, Paris. Designed in the exuberant Rococo style surmounted by a sea...

A Fine Louis XVI Style Gilt-Bronze Mounted Mahogany Centre Display Cabinet or ‘Vitrine de Milieu’, By Paul Sormani, Paris. The oval vitrine cabinet...

A unique monumental Louis XVI Style giltwood centre table with a Brèche Violette marble top by François Linke. French, circa 1914. Giltwood furniture by Linke is not only rare, but can be difficult to identify as it tends to be unmarked. This table can however be confidently attributed to Linke, as an early black and white photograph of the piece, Linke index no. 2575, survives in the Linke Archive (see page 428 pl. 501, in Christopher Payne: François Linke, 1855-1946, The Belle Époque of French Furniture). The only one of its kind known to have been produced, it was carved for Linke in May 1914 by the outworker Derivry. It formed part of the important commission of furniture ordered by the Italian born Argentinean banker Antonio Devoto...

A Pair of Large Sarreguemines Majolica Sang de Boeuf Glazed Earthenware Jardinières On Pedestals. Each bowl with moulded leaf decoration, lion head handles and Bleu de Deck interior. On a baluster socle with square foot. The tapering pedestals with neoclassical ornament of foliage, masks and birds, corned by rams heads above paw feet. Impressed stamp 'SARREGUEMINES / 849 / 227', and '4 / 01' The urns are Form Number 849 called 'Coupe ovale Porphyre'. The stamp '4 / 01' identifies a date of manufacture as April 1901. The large urns on pedestals...

A Large Cast Iron Fountain Figure of a Water Nymph On a white marble pedestal, By J.-J. Ducel, Paris. Signed ' 'J.-J.DUCEL'. Modelled seated on a rock as if dipping a toe into th...

An Edwardian Gilt-Bronze Standard Lamp Tier Table. Designed in the rococo style with spirally fluted stem supporting an urn with bulb fitment abo...

A Fine Pair of Louis XVI Style Gilt-Bronze Mounted Mahogany Occasional Tables, Attributed to Henry Dasson. France Circa 1880. Henry Dasson (1825-1896) was one of the finest makers...

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 Late Louis XV Period Gilt And Patinated Bronze Figural Chenets, Attributed to Jacques and Philippe Caffieri. Modelled as a dog and cat, each seated on a tasselled cushion ...

An Art Nouveau Bronze Figural Ewer Modelled With A Water Nymph by Auguste Ledru, Cast by Susse Frères. Inscribed 'Susse F. Paris Edt.', stam...

A Large Patinated Bronze Figure of ‘Jeanne d'Arc Prisonnière’ (‘Prisoner Joan of Arc’), By Louis-Ernest Barrias (French, 1841–1905). Joan of Arc modelled standing, in handcuffs and armour and wearing a Bascinet helmet. Signed ‘E. Barrias’ and with foundry mark ‘Susse Fres Edit Paris', Stamped 'PS'. Titled on the base: ‘Vous avez pu m'enchainer/vous n'enchainerez jamais la Fortune de la France/Jeanne d'Arc’ ('You were able to chain me but you will never chain the will of France. Joan of Arc’). Cast as part of a limited edition by the Susse Frères foundry, Paris, from the model by Louis-Ernest Barrias (French, 1841 – 1905). The model conceived Circa 1891 and Cast Circa 1910. In 1891 Barrias completed his touching life-size portrait of 'Jeanne d'Arc devant ses judges' ('Joan of Arc before the judges') in marble for her monument at the Church...

A Magnificent Pair of George II Style English Carved Giltwood ‘Rococo’ Wall Mirrors After A Design By Thomas Johnson. Of large proportions, each mirror having a cartouche-shaped plate within a profusely carved and pierced branch-entwined frame with stylised acanthus foliate rocaille and ‘C’-scroll decoration, architectural motifs and running dogs, surmounted by an asymmetrical pagoda form cresting with rockwork spires and a seated rustic couple holding a basket, flanked by confronted Ho-Ho birds, with a conforming asymmetrical apron of acanthus and waterwork icicles centred by a perching bird. This magnificent and ornate pair of English wall mirrors or ‘pier glasses’ are refined and reduced from a design by Thomas Johnson (1723–1799) first published in 1756 and included in his ‘Collections of Designs’ (1758), plate 4, and republished in his ‘One Hundred and Fifty New Designs" (1761) as plate 22. Pier Glasses were designed to be placed on the wall or 'pier' between windows; as well as forming part of a decorative scheme they provided an important functional use, creating a reversal of dynamic with the windows at night, reflecting and maximising the light given off by candles or oil lamps. Johnson’s asymmetrical design creates a sense of fluidity and lightness to the mirrors, employing ‘contraste’ in the placing or absence of elements, to create a stylised form, which through the dynamic tension of its constituent parts instils the mirrors with a sense of playfulness and vitality. In London throughout the 1740s and 1750s there developed a great enthusiasm for the whimsical Rococo style, and it rapidly became the height of fashion, popularised, and disseminated throughout the country and further afield by cabinetmakers’ 'Books of Prices', and 'Directories'. The second half of the 19th century saw a revival of the Rococo style in England and many designers and furniture makers turned once again to Chippendale’s ‘Director’ and designs by Matthias Lock and Thomas Johnson for inspiration, with fine examples based on modified designs or specific plates. Thomas Johnson’s designs, executed in a vigourous picturesque manner, are often inspired by the work of earlier French designers, transposing motifs taken from engraved ornament by Jean Bérain, Daniel Marot, William de la Cour, J. B. Toro and Francis Barlow...

A Fine Patinated Bronze Figural Group of Cupid and Psyche, Entitled 'L'Amour Vainqueur' ('A Love Vanquished') By Adolphe Itasse (French, 1830 - 1893). On a revolving rouge de Fran...

A Pair of Louis XVI Gilt-Bronze Five-Light Wall Appliques. Each modelled with a quiver-shaped back plat surmounted by an classical urn finial. Issuing five 'S'-scrolled branches. ...

A Pair of Louis XIV Style Gilt-Bronze Twin-Light Wall-Appliques. Each modelled as a cherubic herm emerging from bracket with foliate swags and holding an 'S'-shaped branch. Wired fo...

A Louis XV Style Gilt-Bronze Mounted Bureau de Dame, by François Linke. Signed to the bronze mount ‘F.Linke’. Linke Index Number 1650. This very fine and unusual bureau de dame ha...

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 Magnificent Gilt-Bronze Mounted Parquetry Commode, After Antoine Gaudreaux's 'Commode Médallier'. The serpentine Vert Maurin marble top above a conforming case set with two cupbo...

A Rare Louis XVI Style Gilt-Bronze Mounted Mahogany Cylinder Bureau. By François Linke, Paris. Index Number 100. France, Circa 1890. The top with three quarter pierced gallery. The cylinder front centred by a gilt-bronze foliate framed oval decorated with floral marquetry and a harp and books representing lyric poetry. Flanked by twin-light gilt-bronze candelabra. The roll-top enclosing an arrangement of four small drawers and five small compartments above a gilt-tooled green leather writing surface. The frieze fronted by a central drawer with spring-loaded secret release and faced with a relief-cast plaque of cloudborne putti representing the arts. The flanking drawers with gilt-bronze acanthus cast handles and fruiting cornucopia...

A Large Napoleon III Carved Giltwood & Gesso Mirror. Grand in size and decoration, this impressive Napoleon III period overmantel mirror is designed in the Louis XVI style with an ...

A Pair of Gilt-Bronze and Ruby Glass Table Lamps. Each with hexagonal stem and tulip-shaped Bohemian glass base. The metalwork finely turned with crosshatched patterns in gilt-bron...

A Fine and Rare Louis XV Style Gilt-Bronze Mounted Marquetry Occasional Table. By Emmanuel Alfred (dit Alfred II) Beurdeley. Paris. France, Circa 1885. The top with marquetry of precious fruitwoods and rare timbers depicting a central cartouche of two monkeys standing in a classical landscape, dressed as men playing a drum and a tambourine. The surrounding marquetry composed of rocaille framed trellis parquetry panels with musical attributes. The shaped top surrounded by a three-quarter gilt-bronze gallery. The top slides back and the drawer opens to reveal a writing tray. The serpentine sides with cartouches with flower-filled marquetry. On cabriole legs headed by gilt-bronze rocaille clasps. Beautifully rendered by Beurdeley this ‘table Singeries’ is ennobled with the fullest frivolity of the rococo. The marquetry scene on the top derives from engravings published in Paris in the mid-eighteenth century entitled ‘Le Tambour de Basque’ and 'Le Tambourin’ by J. Guelard after designs by Christophe Huet (died 1759) from a series entitled ‘Singeries ou Différentes Actions de la Vie Humaine Representées par des Singes’. The present writing table is almost identical to an 18th century table in the James A. de Rothschild collection at Waddesdon Manor (inv. 3472) which was purchased by Baron Ferdinand de Rothschild at the legendary auction of Prince Demidov’s Florentine Palazzo San Donato in 1880 (Lot 1554 — Très jolie table...

A Louis XIV Style Gilt-Bronze Mounted Mahogany Bureau Plat, By Cueunières, Paris. After the Model by Charles Cressent. Stamped to underside 'L. CUEUNIERES JNE / ÉBÉNISTE' The orig...

A Pair of Louis XIV Style Gilt-Bronze Twin-Light Wall-Appliques Modelled With Cherubic Herms. In the Manner of André-Charles Boulle. Each modelled as a cherubic herm holding aloft a...

A Pair of Louis XIV Style Gilt-Bronze Twin-Light Wall-Appliques. In the Manner of André-Charles Boulle. Each modelled as a cherubic herm holding aloft spiral branches. Wired for el...

A Fine Patinated Bronze Group, Entitled 'Thesée Combattant le Centaure Bianor' ('Theseus Fighting the Centaur Bianor'), Cast by Ferdinand Barbedienne, From the Model By Antoine Louis...

A Fine Gilt-Bronze Mounted Marquetry Commode, By Heinrich Pallenberg, Cologne. The original marble top is a rare yellow, black and grey brèche marble. This magnificent chest of dra...

A Louis XVI Style Gilt and Patinated Bronze and Marble Three Graces Spherical Clock. By Emmanuel-Alfred (Dit Alfred II) Beurdeley. Modelled in bronze with the Three Graces holding ...

A Pair of Louis XV Style Gilt-Bronze Eight-Light Candelabra, Attributed to Victor Paillard. Each exuberantly modelled in the high rococo style with pl...

A Fine Louis XVI Style Gilt-Bronze Mounted Mahogany And Lacquer Commode à Vantaux After The Model by Weisweiler, by Hubert-Joseph Heubès. The carcass stamped 'HEUBES' and bearing ...

A Louis XVI Style Gilt-Bronze Mounted Mahogany Centre Table. The table with a Villefranche de Conflent marble top of soft purple patterning against a white ground. Beneath the marbl...

A Large Patinated Bronze Sculpture of Emperor Napoleon on Horseback, Cast by Susse Frères, Paris, From the Model By Alfred Émilien O'Hara, Comte de Nieuwerkerke (1811-1892). Dark br...

An Orientalist Lifesize Figural Bronze Statue, Attributed to Louis Hottot (French, 1834-1906). Modelled as a lady in Ottoman dress standing beneath an Eastern style pagoda with mina...

A Pair of Louis XVI Style Carved Giltwood Mirrors. Each mirror with an arched mirror plate and corresponding frame carved with still leaf decoration and an arched pediment centred ...

A Fine Louis XV Style Gilt-Bronze Mounted Bois Satiné and Lacquered Tray-Top Table, by Henry Dasson. This elegant table is inset to the top with a lacquered tray decorated with a s...

A Louis XVI Style Porcelain Mounted Gueridon. The oval top with a pierced gallery centred by an inset Sèvres-style porcelain plaque painted ...

A Pair of Large Gilt-Bronze Mounted Sèvres-Style Cobalt Blue Ground Porcelain Vases and Covers. Signed 'H. Desprez'. Each of baluster form. One painted to the front with Louis XV a...

Antoine-Louis Barye (French, 1795-1875) 'Lion marchant' bronze with dark brown patina signed 'BARYE' on the base and with the foundry mark 'HB / C' to underside for Maison H. Brame. France, Circa 1880. Antoine-Louis Barye’s remarkably lifelike depictions of wild animals made him the most famous animal sculptor of the nineteenth century and he is credited with making small animal bronzes cast in bronze a recognised genre. Such artists became known as ‘animaliers’. Given the associations with power and strength it is befitting that Barye cemented his reputation with his depeiction of ‘Un lion assis...

Antoine-Louis Barye (French, 1795-1875) 'Tigre qui Marche' Bronze with dark brown patina. Signed 'BARYE' and with the foundry mark 'F. BARBEDIENNE. Fondeur' on the base. France, C...

Two Anglo-Indian Carved Ebony Easy Armchairs. Each with tablet toprail elaborately carved with stylised flower-head and scrolling foliage around a central scallop shell. The channelled side rails running to swept arms with leaf carved terminals resting on flared tassel and cup supports decorated with lotus petals. The front and side seat rails are carved with foliate and flowers to the corners above turned front legs. The rear legs are of square section and slightly shorter so that the chair gently reclines. Caned backs and seats with leather squab cushions. Galle District, Sri Lanka, Circa 1830/50. Although furniture represented a small part of raw and manufactured exports from Ceylon (Sri Lanka), it was considered a centre of interest for furniture making in the nineteenth century and Ceylonese furniture...

A Fine White Marble Figure of a Kneeling Cherub, By Pio Fedi. Signed to the base 'Pio Fedi Faceva'. Italian, Circa 1860. Pio Fedi (1815-1892) was an Italian sculptor working in th...

A Regence Style Gilt-Bronze and Boulle Marquetry Inlaid Grand Cartel de Applique, In the Manner of André-Charles Boulle. The eight-day twin-train movement, striking on a bell. The dial with a porcelain cartouche inscribed ‘Thuret a Paris’. The movement stamped Etienne Maxant and ‘12775: 8.1 EM’. This impressive and large cartel clock has a circular, arabesque chased, brass dial with Roman numerals on enamelled cartouches, with engraved Arabic seconds and polished steel hands. The dial sits within a waisted case, with large acanthus mounted gilt-bronze volutes...

A Pair of Large Gilt-Bronze Mounted Chinese Celadon-Ground and Slip Decorated Porcelain Vases. These vases of Chinese celadon porcelain from the ...

A Pair of Louis XVI Style Gilt-Bronze Three-Light Wall-Appliques. Each with tapering backplate in the shape of an arrow quiver and surmounted by an urn. Issuing three 'S'-scrolled ...

A Large Pair of Parcel-Gilt and Grey Painted Pedestals. Each pedestal is of square tapering section inset with an Escalette Alpha rose marble top and carved overall with scrollwork,...

A Louis XVI Style Gilt-Bronze Mounted Mahogany and Ebonised Commode à l'Anglaise. The original marble top of Italian fleur de pêcher marble. The centre frieze drawer applied with ne...

A Patinated Bronze Figural Group of ‘Gloria Victis’ (‘Glory to the Vanquished’), Cast by Ferdinand Barbedienne from the Model by Marius-Jean-Antonin Mercié (French, 1845-1916). ‘Gloria Victis’ (‘Glory to the Vanquished’). Bronze, gilt and dark brown patina. Signed 'A. Mercié', with foundry inscription 'F. BARBEDIENNE, Fondeur. Paris.' and A. Collas reduction cachet. The integral base titled 'GLORIA VICTIS'. This cast is part of a limited edition by the Barbedienne Foundry. France. Circa 1880. ‘Gloria Victis’ is one of the most recognisable and important works of sculpture of the nineteenth century and a definitive image of France’s historic national identity. The figure of glory, winged and wearing armour, carries a dying young warrior heavenwards towards fame and immortality. The compositional daring of the group must be admired for balancing two figures on the minimal support of one foot, wings spread in the moment before taking flight. Mercié was a student at the French Academy of Rome when the Prussians invaded France in 1870. Shortly after the war had begun, he executed a group depicting the figure of Fame supporting a victorious soldier. When news reached Mercié in Rome that the French had surrendered, he decided to alter his group, replacing the victorious soldier with a defeated casualty, thus transforming an allegory of ‘Glory to the Victors’ into one of ‘Glory to the Vanquished’. Completed in 1872, a year after the defeat of French soldiers against the Prussian army, the statue personifies a defeated but heroic France. The title is also a reversal of the famous formula, ‘Vae Victis’ (Death to the Vanquished), which the Gallic general Brennus exclaimed upon defeating the Romans in 390 BC. The figure of the fallen soldier was thought to represent Henri Regnault, a fellow sculptor of Mercié who was killed on the last day of fighting. Measuring 317 cm. high the original group of ‘Gloria Victis’ was unveiled in plaster at the Salon of 1872. It was bought by the City of Paris for the sum of twelve thousand francs and then cast in bronze by Victor Thiébaut for eight thousand five hundred francs. The bronze was exhibited at the Salon in 1875 and first placed in Montholon Square in the 8th arrondissement. In 1884 it was transferred to the courtyard of the Hôtel de Ville and in 1930, it entered the collection of the Musée du Petit Palais, where it can be seen to this day. The Thiébaut Frères foundry also cast Gloria Victis bronzes for the cities of Niort (requested 1881) Bordeaux (requested 1883), Châlons-sur-Marne (today, Châlons-en-Champagne; requested 1890), and Cholet (requested 1901). In 1905, the Danish brewer and art collector Carl Jacobsen was permitted to have an exact cast made of the original sculpture in Paris, on condition that the base was made 2 cm lower and bore the inscription “Original tilhører Paris By” (The original belongs to the City of Paris). It too was cast by the Thiébaut Frères foundry. Gloria Victis was one of Jacobsen’s most important and his last acquisition. Today it has been returned to its original position in the Winter Garden at Glyptoteket, Copenhagen, Denmark. The full-size plaster was shown again at the Paris Expositon universelle of 1878 alongside a bronze reduction by Barbedienne. By this time Antonin Mercié had entered into a commercial edition contract with the Ferdinand Babedienne foundry to produce bronze reductions of Gloria Victis, his most famous work. Gloria Victis is first recorded to have been produced in three sizes and by 1886 Barbedienne’s ‘Catalogue des Bronzes D’Art’ lists six sizes measuring 3/5, 9/20, 7/20, 3/10, 6/25 and 2/10, of the original. These reductions were produced by an invention of Barbedienne’s business partner Achille Collas. The Collas reducing machine was a type of complex mechanical pantograph lathe that enabled sculpture to be mathematically measured and transcribed to scale, in the round, thus making a reduced size plaster from which a bronze could be cast. Mercié's modern sculpture had become an instant classic, even receiving an entry in the Nouveau Larousse Illustré. The success of the group undoubtedly lay in the fact that it was admired not just on an aesthetic level, but also on a patriotic level, particularly in its commemoration of heroism in defeat. Immediately ‘Gloria Victis’ was recognised as a national artwork, capable of arousing patriotism and casts were ordered from Barbedienne as local memorials commemorating the war’s dead for cities across France. ‘Gloria Victis’ was considered so much a part of France’s national identity that for the 1900 Paris Exhibition, Ferdinand Barbedienne’s nephew Gustave Leblanc, loaned a bronze example to feature as part of l’Exposition centennale de l’art français. Literature: For an interesting account of the process of creating a reduction in bronze of the Gloria Victis by Barbedienne and illustrations of the casting and finishing of the bronze see: 'Ferdinand Barbedienne': Theodore Child; Harper's new monthly magazine, Volume 73, Issue 436, September 1886. ‘Contemporary French Sculptors’: The Century, Volume 33, Issue 3, Jan 1887. ‘Modern French Sculpture’: Harper's new monthly magazine, Volume 76, Issue 452, January 1888. S, Lami, ‘Dictionnaire des sculpteurs de l'Ecole française au dix-neuvième siècle’, Tome III. G.-M., Paris, 1914, p. 432. Peter Fusco and H.W. Janson, The Romantics to Rodin: French Nineteenth Century Sculpture from North...

A Louis XV Style Gilt-Bronze Mounted Vernis Martin Vitrine Cabinet. The spreading pediment centred by a rocaille clasp and flanked by exotic busts. The central three-quarter glazed ...

A Pair of Large Gilt-Bronze Mounted Chinese Celadon-Ground and Slip Decorated Porcelain Vases. These vases of Chinese celadon porcelain from the late Quing Dynasty are slip-decorated with willow trees and prunus flowers. The finely sculpted gilt-bronze handles are modelled as winged merman term figures running on berried scrolled clasps to a rocaille raised foot. These superb vases are in the tradition for mounting Chinese porcelain with gilt-bronze accoutrements made by ciseleur-doreurs such as Pierre Gouthière for the marchand-merciers, namely Dominique Daguerre and Simon-Philippe Poirier. The practice continued into the nineteenth century when Prince Regent, later George IV (1762-1830), sent Chinese porcelain vases from the Royal...

A Fine Louis XVI Style Gilt-Bronze Mounted Marble Top Mahogany Three-Tier Console Desserte. The moulded ‘D’ – shaped veined white marble top above a gilt-bronze viruvian scroll and...

A Very Large Chinoiserie Lacquer, Polished Brass and Glass Coffee Table. In the manner of Maison Jansen. The glass top above a Chinese-style 'Coromandel lacquer' panel. The tubular...