Adrian Alan

A fine pair of Louis XVI Style Gilt-Bronze and Moulded-Glass Three-Light Cherub Wall Appliqués by La Compagnie des Cristalleries de Baccarat. French, circa 1890. Glass drip pa...

A pair of Louis XV style giltwood console d'Appliques. French, circa 1910. Each console has a serpentine-shaped fleur ...

A Pair of Belle Epoque Gilt and Patinated Bronze Figural Torchères, By Bouhon Frères, Paris. Each modelled as winged male and female genies emblematic of fame. The female figure hol...

A remarkable and highly important pair of Empire gilt-bronze and cut-crystal six-light candelabra attributed to Escalier De Cristal De Paris. French, circa 1819. This exceptional pair of candelabra can almost certainly be attributed to the workshops of l'Escalier de Cristal de Paris. They relate in particular to a dressing table and chair, now in the collection of the Louvre, which formed part of a toilette suite that was exhibited by L'Escalier de Cristal at the 1819 Paris exhibition of the Produits de l'industrie. The present candelabra may very likely have been made as part of this suite. In 'Baccarat: La Legende du Cristal', it states: "A l'Exposition des produits de l'industrie française de 1819, Mme Désarnaud présente une toilette, une cheminée, deux grands candélabres, deux tables, une grande pendule et plusieurs vases, en cristal et bronze...

A very fine carved giltwood mirror. German, circa 1860. The shaped moulded frame carved with wheat sheafs and entwined foliate forms, surmounted by an openwork rocaille cartouc...

A large Rococo style carved giltwood and silver gilt mirror. Possibly German, circa 1870. The arched mirror plate within a moulded re-entrant inner frame, flanked by an outer ...

A rare and highly important pair of neoclassical style gilt-bronze and biscuit porcelain mounted mahogany side cabinets, by Jules Piret. French, circa 1...

A set of eighteen red walnut dining chairs attributed to Gillows. English, circa 1830. Each chair has a waisted balloon back, with incised foliage and panelled horizontal spla...

A gilt-bronze mounted parquetry inlaid centre table, Attributed to François Linke. French, circa 1900. The circular parquetry top of diapered trellis with gilt-bronze edging ab...

A fine and tall Louis XV style carved giltwood mirror. French, circa 1870. This very finely carved mirror has an arched cresting expressively carved with acanthus ‘C’-Scrolls ...

A large and very finely carved Louis XV style parcel-gilt and painted trumeau mirror. French, circa 1890. This exceptional and very rare trumeau mirror has an arched mirror pl...

A fine pair of patinated bronze figural torchères. French, circa 1890. Each torchere is finely modelled and cast in the form of an expre...

An important pair of Louis XVI style gilt-bronze mounted vitrines with wedgwood Jasperware plaques, by Joseph-Emmanuel Zwiener. French, circa 1880. Stamped 'NZ', 'NZ.309' and 'ZJ' to the reverse of the bronze mounts. Signed to the reverse of the lockplate 'Mon THEAU THIEFFINE Succ./SERRURIER PARIS'. This rare pair of vitrines, each have a shaped Carrera marble top above a frieze centred by a round classical Jasperware plaque flanked by gilt-bronze putti figures and scrolling acanthus running pattern. Below is a gilt-bronze framed bevelled glass door above a panel centred by a finely modelled Jasperware plaque of a putto representing the seasons. The door is flanked to either side by gilt-bronze monnaie pattern and headed by a pair of exceptionally fine female canephor figures. The shaped sides have corresponding bevelled glass panels and the vitrine is raised on tapering fluted legs. The distinctive canephor figures, finely cast as female caryatids with ringlets in their hair and supporting baskets of fruit upon their heads, is a distinctive and celebrated model unique to Zwiener. Many of Zwieners bronzes are executed in the Louis XV style, with flowers and scrolling acanthus leaves and an emphasis on asymmetry, typical of the work of his bronze sculptor Léon Messagé. The mounts employed on this rare pair of vitrines however sees Zwiener creating his own up-to-date reinterpretation of the Louis XVI style, drawing inspiration from established Louis XVI models such as those designed by Weisweiler for Marie-Antoinette's Dressing table. [See Mestdagh, p.305]. A second distinctive feature of the vitrines is the finely modelled Wedgwood Jasperware plaques incorporated in the frieze of each vitrine and beneath the doors. Wedgwood exhibited at nearly all of the Universal Exhibitions held in 19th century France, displaying amongst other pieces, plaques specifically intended to be mounted on to furniture. The first vitrine displays to the frieze a finely modelled plaque in the classical style, depicting a group of putti at play, one being pushed on a swing, while another plays a trumpet and a small attentive dog watches from below. Beneath the glass panelled door a larger Jasperware plaque is incorporated depicting a putto figure with a garland of flowers, emblematic of spring. The second vitrine has a classical plaque...

A rare pair of giltwood domed top display cabinets. English, circa 1900. Each cabinet has a domed top comprising of four glazed sections divided by mouldings. The glazed sides ...

'The Juggler' - A fine Art Deco silvered bronze figure, by Claire J. R. Colinet. French, circa 1925. Engraved to base 'CL J.R. Colinet'. This dramatic and large silvered b...

A fine pair Of Art Deco wall appliques by Albert Constant Jouanneault. French, circa 1930. Signed in the cast 'A. Jouanneault'. Each circular frosted glass applique is mount...

A Finely Carved Louis XIV/Regence Style Giltwood Centre Table with A Rare Patricia Green Italian Marble Top, After the Model by Jules Degoullons. This impressive centre table is after the celebrated giltwood table a gibier or double-sided console table made circa 1713 for the Château de Bercy by Jules Degoullons (ca. 1671–1737) now in the Louvre, Paris (Louvre Accession No. OA 5049). French, Circa 1890. The Château de Bercy, east of Paris, was built by François Le Vau...

An exceptional gilt bronze mounted cut-brass and tortoiseshell-Inlaid ‘Boulle’ Cartel Clock and Barometer Set. French, circa 1890. Each surm...

A fine patinated bronze figure of a Native American scout by Carl Kauba. Austrian, circa 1910. Signed in the cast 'Carl Kauba'. The figure cast as an American Native scou...

A Fine Louis XVI Style Gilt-Bronze and Green Enamel Mantel Clock. French, Circa 1890. Stamped ‘Medaille d’Argent Vincenti & Cie 1855’ and with the initials ‘L.R’. This fine clock or timepiece has a spring-driven eight-day twin train movement by Vicenti et Cie, striking on a gong. The gilt-bronze case is of square-section with a stepped pediment surmounted by musical trophies above a Vitruvian scroll frieze and rosettes to each corner, below is a circular enamel dial with Arabic numerals and floral swags, set within a finely painted iridescent green enamel panel depicting a courting couple in conversation. The sides are similarly painted with fair maidens in a wooded landscape and the back cast with strap-work and Vitruvian scrolls; a circular hinged door opening to reveal the movement. Vincenti was a much respected clock maker, a Corsican who set up in 1823 in Montbeliard using machinery of his own design. Following his death in 1834 his business was carried on by Roux et Cie...

A fine patinated bronze figure of a Native American scout with rifle, by Carl Kauba. Austrian, circa 1910. Signed in the cast 'Carl Kauba'. The figure cast as an American...

A fine gilt-bronze mounted mahogany and satine bookcase by François Linke. French, circa 1890. Linke Index No. ‘1131’ Inscribed ‘F. Linke’ above the center right-hand door. ...

A Large Regence Style Carved Giltwood and Gesso Mirror. French, Circa 1860. This fine mirror is almost 2m in height. The arched mirror plate is framed by carved uprights with ...

An important oak, giltwood and bronze four door Grande Vitrine. French, circa 1870. An important oak, giltwood and bronze four door 'Grande Vitrine'. The projecting cornice finely carved with a frieze of linked coquillage centred by a sculptural giltwood cresting of a crowned shield displaying the double 'L' monogram above a Fleur-de-lis of Louis Philippe and flanked by playful putti, below three pilaster uprights each with gilded Corinthian capitals and trailing foliate relief, frame two sets of brass faced bronze doors fitted with plate glass and opening to an interior containing three shelves, the sides similarly glazed and the whole raised on a plain square section base. This vitrine was formerly in the collection of the Monseigneur Le Comte de Paris et Madame la Comtesse de Paris from the Villa La Quinta Do Anjiho in Portugal. When, after the Second World War, the Count and Countess of Paris (Duc and Duchesse d'Orleans) moved to La Quinta, they decorated the villa almost entirely with furniture and works of art from the estate of the Duc de Guise...

A Fine Louis XVI Style mahogany and Marquetry Inlaid neoclassical breakfront commode in the manner of Jean-Henri Riesener. French, circa 189...

A fine Pair of Louis XVI Style Gilt Bronze Mounted Mahogany Cabinets by Paul Sormani. Paris, circa 1870. Signed to the lock...

A Fine Pair Of Gilt-Bronze And White Marble Ten-Light Candelabra After The Model by Pierre Gouthière, by Henri Picard. French, Circa 1870. The gilt-bronze variously stamped 'P...

A KPM Porcelain Plaque Depicting The Three Eldest Children of Charles I, After The Painting By Sir Anthony van Dyck. German, Circa 1890. The...

A Fine Louis XV Style Gilt-bronze Mounted Japanned Side Cabinet, With A Breche D'Alep Marble Top, By Henri Nelson, Paris. French, circa 1900. Stamped to the carcass 'H. Nelson'. ...

An unusual pair of George IV silver-gilt cup and covers by John Bridge for Rundell, Bridge & Rundell. English, circa 1824-1826. Hallmarks for Rundell, Bridge & Rundell, London...

A magnificent large and impressive gilt bronze Regence style thirty-branch chandelier. French, circa 1890. The massive central baluster stem finely cast with ‘C’-scrolls, cher...

A monumental Louis XV Style gilt bronze and cut-glass forty-eight light chandelier. French, circa 1885. The frame is variously stamped with numbers and 'JL'. This rare and...

A large and impressive Napoléon III gilt bronze and cut-glass thirty-six light chandelier. French, circa 1870. This fine chandelier has a gilt bronze frame issuing scrolling f...

A highly important patinated bronze and Sienna marble fireplace of palatial proportions with finely cast bronze panels and classical figures depicting 'Printemps' and 'Automne'. French, circa 1850. This magnificent Fireplace...

A Fine Louis XV Style Gilt-Bronze Mounted Table Vitrine by François Linke. French, circa 1900. Linke Index Number 131. The lockplate signed 'F.Linke', the mounts variousl...

A Louis XV style Marquetry games table. French, circa 1870. A Louis XV style Marquetry games table, the shaped rectangular top, with gilt bound edge, inlaid with delicate folia...

A Louis XVI Style gilt bronze mounted mahogany low table with a grey marble top. French, circa 1890. This table has a rectangular grey marble top above a frieze with a central ...

A Louis XV style low table by Lysberg and Hansen of Copenhagen. Danish, circa 1910. The Copenhagen firm of Lysberg & Hansen and later Lysberg,...

A fine Louis XVI style gilt-bronze and cut-glass ten-light tent and bag chandelier. French, circa 1900. This impressive chandelier has a gilt-bronze crown cast with anthemions...

A Very Fine George IV Parcel-Gilt Amboyna Centre Table Attributed to Thomas & George Seddon. English, Circa 1830. The table is of finely figured Amboyna with a circular tilt-top above a triform column with parcel-gilt scrolled supports. It is raised on a conforming plinth base with foliate carved feet and concealed castors. George Seddon was the eighth child of John Seddon of Blakelea, Lancashire. His father apprenticed him to George Clemaphon of Cripplegate to learn cabinet making. He became a master cabinet maker. (He was Master of the Joiner’s Company in 1795). In the early 1750s he was sufficiently successful to acquire London House, Aldersgate Street. It consisted of extensive workshops, where furniture was made, and showrooms to display the finished products. London House had formerly been a palace of the Bishops of London. The panelled state-rooms were ideal for the display of fashionable furniture; and the chapel and library made convenient workshops. When Seddon married, he converted the garden house and infirmary into the family home. Seddon was the biggest furniture maker of his time. His furniture store covered a two acre site in Aldersgate Street. His workshop there was described by London visitor Sophie v. La Roche in 1786: "We drove first to Mr. Seddon's, a cabinet-maker,...He employs four hundred apprentices on any work connected with the making of household furniture—joiners, carvers, gilders...

A pair of unusual green serpentine marble pedestals, carved with entwined dolphins. Italian, circa 1880. This unusual pair of serpentine marble...

A very fine pair of Louis XVI Style gilt bronze mounted mahogany pedestals, attributed to Sormani. French, circa 1870. The pedestals are of tapering form with finely chiselled...

A fine Louis XVI style gilt bronze-mounted mahogany commode, with a blue turquin marble top after the model by Jean-Henri Riesener. French, circa 1880. The gilt bronze mounts s...

A gilt bronze Empire clock in the form of a classical urn, by Maison Lepautre. French, circa 1825. The dial signed 'Lepaute a Paris'. The clock has an ornate cast bezel with a 3-inch porcelain dial with Roman numerals and Breguet style hands. The twin train eight-day movement with outside count wheel striking on a bell and silk thread suspension. This elegant Empire style clock has a gilt bronze case in the form of a classical urn with swan neck handles and a winged cherub to the neck. The circular pedestal base is raised on a footed stepped square plinth. The Lepaute family were the premier French clockmakers of their day. Their significance lies in their contribution to the clock making industry which had hitherto come under the trade of locksmiths. The family held the brevet Horlogers du Roi. Jean-André Lepaute (1720–1789) arrived in Paris at an early age and in 1740 founded the family business. A skilled artist and mechanic, he quickly gained an excellent reputation. He was received as maître by the clockmakers guild in 1759, was granted royal lodgings from the king in The Luxembourg Palace, and was entrusted with the construction of the majority of the great public clocks of Paris. He executed, amongst others, those in The Luxembourg Palace, the Jardin des Plantes, the Château de Bellevue and the Château des Ternes. His clock at Paris’s École Militaire still works today. Three editions of his Traité d’Horlogerie were published in Paris in 1755, 1760 and 1767. A small volume, Description de Plusieurs Ouvrages d’Horlogerie appeared in 1764. Jean-André’s wife, Nicole-Reine Etable de la Brière (1723-1788), was a highly esteemed mathematician and astronomer. Her passion for science lent itself to Lepaute’s work and she played an active role in the scientific and mathematical aspects of the clock making. Jean-André’s younger brother Jean-Baptiste Lepaute (1727-1802) joined him in Paris in 1747 and immediately started working for the family business. He was received as maître in 1776 and was known for the clocks he constructed for the Paris Hôtel de Ville (1780), destroyed in a fire of 1871, and for the Hôtel des Invalides (1784). Jean-Baptiste took over the workshop when Jean-André retired in 1775. After Jean-Baptiste’s death in 1802, the firm was taken over by his nephew Pierre-Basil Lepaute (1750-1843) where he was duly joined by his own nephew Jean-Joseph (1768-1846) and son Pierre-Michel (1785-1849). By 1816, Pierre-Michel Lepaute was in charge of the business. His masterpieces include the astronomical clock in Paris’s Bureau...

An enamel plaque depicting Napoleon crossing the Alps, by Camille Fauré, Limoges. French, circa 1930. Signed 'FAURÉ, Limoges France. N...

An impressive pair of Louis XVI style gilt bronze mounted mahogany vitrines by François Linke. French, circa 1890. Signed to the reverse of the bronze mounts ‘LINKE’. Each ...

A fine Louis XVI Style gilt bronze and Pietre Dure mounted ebonised writing table, retailed by Edwards & Roberts. French, circa 1870. The drawer edge stamped 'Edwards & Roberts'. This Fine ebonised writing table has a three-quarter galleried superstructure with cavetto moulding above three cupboards, each with a panel door inset with Fine pietre dure panels of vases issuing flowers. The lower part of the table has a pullout / pull-out writing slide with a dark blue leather writing surface, above a long drawer centred by a tablet mounted with a foliate pietre dure panel. The table is raised on tapering square section legs united by an 'X'-frame stretcher centred by a gilt bronze vase. The beautiful Florentine pietre dure panels are inlaid in high relief with shaded agates marble, and semi-precious stones. The combination of Fine gilt bronze mounts on an ebonised ground enriched with Fine pietre dure inlay indicates the work of one of the best Parisian ébénistes of the period. Edwards & Roberts, was one of the principal London companies working in the nineteenth century in the taste of the late Eighteenth Century. They started business in 1845 and by 1854 were trading as 'Edwards & Roberts, 21 Wardour Street, Antique and Modern Cabinet Makers and Importers of Ancient Furniture'. Wardour Street became an important furniture retailing area in the second half of the 19th century. Contemporary documents note '... a fine and complete library...

A fine pair of Louis XVI style gilt bronze three-light wall-appliques after a Design by Jean Hauré for the Château de St. Cloud. French, circa 1890. ...

An Empire Style Gilt-Bronze and Mother of Pearl Table Mirror, With a Portrait of Empress Joséphine. The arched frame with anthemion ornament and fronted by a circular Portrait Mini...

A very fine Louis XVI style carved giltwood and composition marginal mirror. French, circa 1890. This fine mirror has a gadrooned, beaded and e...

A Petite Louis XV style gilt-bronze mounted and Sèvres style porcelain set table. French, circa 1870. This elegant table has a shaped rectangular top with gilt-bronze encadre...

A fine Louis XVI style gilt bronze and ebony three-light desk stand. French, circa 1820. This elegant desk stand has an ebonized rectangular base with drawer, supporting a re-...

A fine companion pair of Russian gilt bronze-mounted armchairs. Russian, circa 1870. The frame of each chair with exceptional gilt bronze mounts. The padded backs, seats, side...

A large and impressive George III style cut-glass twenty-light chandelier. English, circa 1910. The shaped, diapered cut, glass bowl issuing spiral rods suspending faceted dro...

A fine Regency period gilt bronze and cut-crystal frame chandelier. English, circa 1830. This fine chandelier has a foliate corona hung with lancet-shaped drops above strings ...

An important pair of monumental thirty-one light giltwood torchères after the model by Jacques Gondoin for the Hall of Mirrors At the Palace of Versail...

A Louis XVI style gilt bronze-mounted plum-pudding mahogany Bas d’Armoire. French, circa 1880. The lock stamped ‘DUBOIS FT A PARIS’. This fine cabinet has a rectangular top...

An exceptional Louis XVI style champlevé enamel and gilt-bronze mantel clock with finely painted neoclassical scenes by Leroy & Fils. French, circa 1880. Stamped to the movement ‘LEROY & FILS A PARIS, 823’. This fine gilt-bronze and champlevé enamel clock has an arched case with outset bulbous columns to the angles, it is surmounted by a drum top with a pierced scroll and ball finial and applied with expressive cherub mounts. The front and sides of the clock are all exceptionally finely painted with neoclassical scenes of figures in an architectural setting and the top and base enriched with fine polychrome champlevé enamel. The clock has an enamelled chapter ring with Roman numerals interspersed with anthemion devices and a twin barrelled, eight-day movement striking on a bell. The firm of Leroy et Fils was founded by Bazile Charles Leroy in 1789. He was a clockmaker to the Emperor Napoléon, The Duke of Orleans, The Duke of Bourbon and Princess Pauline. In 1823, he filed a patent for self-winding atmospheric clock operated by weathervane and in 1840 a patent for wind clocks. When Charles Louis died in 1865 his son Louis Leroy...

A fine Louis XVI style mahogany and marquetry centre table with gilt bronze mounts attributed to François Linke. French, circa 1890. This fine marquetry table has a frieze with...

An important and extremely large pair of Magenta Ground Vienna Porcelain Exhibition vases. Austrian, circa 1900. Each vase with blue underglazed ‘Beehive’ mark to interior of neck. Each vase is finely painted with classical scenes to the front and allegorical scenes to the back on a rich magenta ground with gilt foliate decoration. The vases are mounted by extraordinary gilt handles headed by winged female masks to the sides and grotesque masks to the shoulders. The spreading necks decorated with Greek key decoration are surmounted by domed covers and the vases are raised on baluster form supports put down on drum bases finely painted with panels stylised arabesque. The Vienna Porcelain Manufactory was founded in 1718 only eight years after Johann Friedrich Bottger and Ehrenfried Walther von Tschirnhaus had succeeded in unearthing the secret of Porcelain Manufacture for August the Strong, Elector of Saxony. On May 25, 1718, Emperor Karl VI signed a "special privilege" awarding Claudius Innocentius du Paquier the exclusive right to produce porcelain in the Austrian crown lands. Production being almost exclusively for the imperial household and the court nobility. During the rococo era, Empress Maria Theresia placed the company under imperial ownership and it was during this period that the manufactory began to produce the famous rococo genre scenes after Watteau. Under the management of Conrad Sorgel von Sorgenthal, the Vienna Porcelain Manufactory achieved an international reputation for its neo-classical style. After the wars with France brought the manufactory to the brink of ruin, the Vienna Congress at the beginning of the Nineteenth Century gave porcelain from Vienna a renewed upswing. Many important personalities of the time, including Czar Alexander I of Russia...