Jan's & Co Fine French Antiques Inc. Decorative Objects

Antonio Tantardini (Italian, 1829-1879) An extraordinary Italian 19th century life size carved Carrara white marble sculpture of "A Young Child and a baby in a wicker crib...

A very fine pair of French 19th century neoclassical Greco-Roman style patinanted bronze and ormolu mounted figural candelabra by Henri Picard (French, Active from 1831-1864). The large and impressive pair of ten-light candelabra, each with a patinated figure of a standing bearded semi-nude male holding an ornate ormolu ten-light candelabrum, their bare feet resting on allegorical wreaths, helmet and sword stash, all above square black-slate plinth surmounted with ormolu trims and scrolled legs, the front surmounted with patinated bronze plaques depicting Greco-Roman scenes of Senators and maidens. Stamped "H. Picard" on the inner ring, the back of the male figures each stamped with the numerals "3776". Circa: Paris, 1850-1860. The well regarded fondeur and doreur Henri Picard was recorded at 6 rue Jarente in 1831, and moved to 10 rue de la Perle in 1839. The firm, which was active from 1831-1864, is known for having supplied very fine decorative objects to Emperor Napoleon III's apartments at the Louvre, which are still part of the collection, and was reputed for its fine quality decorative production of gilt and patinated bronzes, pièce de table and garnitures de cheminée...

A fine pair of French 19th century Gothic-Revival neoclassical style five-light gilt-bronze candelabra. The finely chased gilt-bronze tripod-leaf base, surmounted with floral rosette...

A very fine and charming Italian 19th century life-size Carrara marble sculpture of "A Mother and Child" depicting a young joyous mother holding her young child in her arms, by Profe...

A very fine and Monumental French 19th century patinated bronze group Titled "The Abduction of the Sabine Women" after a model by Pierre Loison (French, 1816-1886), depicting a young scantily maiden being carried away on the arms of a Roman soldier, raised on circular ebonized wood and brass revolving pedestal stand. Signed at the base: P. Loison, circa: Paris, 1870-1880. Overall height (Sculpture and Pedestal): 91 inches (231.2 cm). Sculpture height: 54 3/4 inches (139.1 cm). Sculpture width: 24 inches (61 cm). Pedestal height: 36 inches (91.5 cm). Pedestal width (Widest): 25 1/2 inches (64.8 cm). Pierre Loison was a French sculptor of the 19th century born in the seaside town of Loir-et-Cher on July 5, 1816 and died in Cannes on February 3, 1886. In 1841, he joined the Pierre-Jean David d'Angers workshop where he became one of his favorite pupils. A year later he attended the School of Fine Arts in Paris. He exhibited for the first time at the Salon des artistes Français where in 1845 he was awarded third-class medal. In 1853 he was awarded First Place medal and at the Universal Exhibition of 1955 he received an honorable mention and another medal award in 1859. On 12 July 1859 and by decree, he was made "Chevalier de la Légion d’Honneur". Pierre Loison is buried at The Montparnasse Cemetery in Paris. Works by Pierre Loison "Femme assise": Terre cuite (1843) au musée Gustave-Moreau à Paris "Jeune fille portant un vase": Statue en marbre blanc, (h. 1,25 m) datée de 1857 et présentée au Salon de 1859 ; la statue fut d’abord placée au Palais-Royal (appartements du prince Napoléon) ; elle est actuellement au musée des Beaux-arts de Dole ; une réplique de taille réduite est au Musée des arts décoratifs de Paris. "La Halle aux grains de Mer": Chaque façade de ce bâtiment, classé à l’inventaire supplémentaire des monuments historiques, comporte un fronton triangulaire et celui de la façade ouest représentant « L’Agriculture distribuant des couronnes aux enfants de Beauce et de Sologne » a été sculpté gracieusement par P. Loison, natif de la commune. "La Justice assise": Allégorie de la Justice au fronton du Palais de justice de Blois (1847). "Buste d’Achille Fould": Au musée du Château de Blois 8; "Nausicaa": Statue en plâtre présentée au Salon de 1874, au musée des Beaux-arts de Vendôme. "Statue de J-B. Pigalle sur la façade de l’hôtel de ville de Paris "Sculptures extérieures du Palais du Louvre": Pierre Loison est l’auteur de neuf statues qui décorent les façades du Louvre "Figure" (1878) au deuxième étage du Pavillon Marsan10; "La Navigation" (1868) sur la balustrade du premier étage du Pavillon des États11; "Pandore" (1861) sur l’aile Est12; « Vénus » (1865) Aile Marsan13; "l’Histoire et la Vérité" (1857)14; "La Poésie et la Philosophie" (1857)15 deux oculi du Pavillon Mollien, coté cour Napoléon ; "Concordet" (1857) sur la balustarde du premier étage de la Rotonde de Beauvais, coté cour Napoléon. "Statue de Sappho sur le rocher de Leucade : datée de 1859, (h. 1,85 m) sur la façade nord de la cour carrée du Palais du Louvre à Paris ; le modèle en plâtre, offert par Mme Loison, est au musée des Beaux-arts de Blois. "Vierge à l’enfant": Statue en marbre en l’église Saint-Pierre de Dampierre-en-Yvelines. "Jeune romain enlevant une Sabine": Groupe présenté au Salon de 1863 qui a été reproduit en bronze par la fonderie d’art Raingo frères. "Sépulture de la famille Hautoy : Au cimetière du Père-Lachaise, deux bas-reliefs en marbre représentant l’un "La vie de Famille," l’autre 'Le chantier," datés de 1880. "Demoiselle d’honneur de la Cour de François Ier": Statue en pierre exposée au Salon des artistes vivants en 1870 ; acquise par l’État à ce Salon, elle a été déposée en 1891, devant la mairie d’Aubin. "La Paix distribuant des palmes aux génies des Beaux-arts": Fronton du Château de Compiègne (1866). "Daphnis et Naïs": Groupe en marbre (1869) au musée de Picardie à Amiens. "Jean-Baptiste Pigalle": Statue en pierre (1881) sur la façade principale, au rez-de-chaussée de l’Hôtel de ville de Paris. "Gisant de Ferdinand-Philippe d'Orléans: dans la chapelle royale de Dreux en collaboration avec Ary Scheffer. "La Grace": Statue en marbre (1875) dans le grand foyer de l’opéra Garnier. The Abduction of the Sabine Women The Abduction of the Sabine Women is an episode in the legendary history of Rome, traditionally dated to 750 BC, in which the first generation of Roman men acquired wives for themselves from the neighboring Sabine families. Recounted by Livy and Plutarch (Parallel Lives II, 15 and 19), it provided a subject for Renaissance and post-Renaissance works of art that combined a suitably inspiring example of the hardihood and courage of ancient Romans with the opportunity to depict multiple figures, including heroically semi-nude figures, in intensely passionate struggle. Comparable themes from Classical Antiquity are the Battle of the Lapiths and Centaurs and the theme of Amazonomachy, the battle of Theseus with the Amazons. The Abduction is supposed to have occurred in the early history of Rome, shortly after its founding by Romulus and his mostly male followers. Seeking wives in order to found families, the Romans negotiated unsuccessfully with the Sabines, who populated the area. Fearing the emergence of a rival society, the Sabines refused to allow their women to marry the Romans. Consequently, the Romans planned to abduct Sabine women, during a festival of Neptune Equester and proclaimed the festival among Rome's neighbours. According to Livy, many people from Rome's neighbours including folk from the Caeninenses, Crustumini, and Antemnates, and many of the Sabines attended. At the festival Romulus gave a Signal, at which the Romans grabbed the Sabine women and fought off the Sabine men. The indignant abductees were soon implored by Romulus to accept Roman husbands. Livy says Romulus offered them free choice and promised civic and property rights to women. According to Livy, Romulus spoke to them each in person, declaring "that what was done was owing to the pride of their fathers, who had refused to grant the privilege of marriage to their neighbours; but notwithstanding, they should be joined in lawful wedlock, participate in all their possessions and civil privileges, and, than which nothing can be dearer to the human heart, in their common children." Responsibility of the men for meeting the needs of the children thus conceived was not included. War with the Sabines and other tribes Outraged at the occurrence, the King of the Caeninenses entered upon Roman territory with his army. Romulus and the Romans met the Caeninenses in battle, killed their king, and routed their army. Romulus later attacked Caenina and took it upon the first assault. Returning to Rome, he dedicated a temple to Jupiter Feretrius (according to Livy, the first temple dedicated in Rome) and offered the spoils of the enemy king as spolia opima. According to the Fasti Triumphales, Romulus celebrated a triumph over the Caeninenses on 1 March 752 BC. At the same time, the army of the Antemnates invaded Roman territory. The Romans retaliated, and the Antemnates were defeated in battle and their town captured. According to the Fasti Triumphales, Romulus celebrated a second triumph in 752 BC over the Antemnates. The Crustumini also started a war, but they too were defeated and their town captured. Roman colonists subsequently were sent to Antemnae and Crustumerium by Romulus, and many citizens of those towns also migrated to Rome (particularly the families of the captured women). The Sabines themselves finally declared war, led into battle by their king, Titus Tatius. Tatius almost succeeded in capturing Rome, thanks to the treason of Tarpeia, daughter of Spurius Tarpeius, governor of the citadel on the Capitoline Hill. She opened the city gates for the Sabines in return for "what they bore on their arms", thinking she would receive their golden bracelets. Instead, the Sabines crushed her to death with their shields, and her body was thrown from a rock known ever since by her name, the Tarpeian Rock. The Romans attacked the Sabines, who now held the citadel. The Roman advance was led by Hostus Hostilius, the Sabine defence by Mettus Curtius. Hostus fell in battle, and the Roman line gave way, They retreated to the gate of the Palatium. Romulus rallied his men by promising to build a temple to Jupiter Stator on the site. He then led them back into battle. Mettus Curtius was unhorsed and fled on foot, and the Romans appeared to be winning. At this point, however, the Sabine women intervened: [They], from the outrage on whom the war originated, with hair dishevelled and garments rent, the timidity of their sex being overcome by such dreadful scenes, had the courage to throw themselves amid the flying weapons, and making a rush across, to part the incensed armies, and assuage their fury; imploring their fathers on the one side, their husbands on the other, "that as fathers-in-law and sons-in-law they would not contaminate each other with impious blood, nor stain their offspring with parricide, the one their grandchildren, the other their children. If you are dissatisfied with the affinity between you, if with our marriages, turn your resentment against us; we are the cause of war, we of wounds and of bloodshed to our husbands and parents. It were better that we perish than live widowed or fatherless without one or other of you." The battle came to an end, and the Sabines agreed to unite in one nation with the Romans. Titus Tatius jointly ruled with Romulus until Tatius's death five years later. The new Sabine residents of Rome settled on the Capitoline Hill, which they had captured in the battle. Artistic representations: The Rape of the Sabine Women by Johann Heinrich Schönfeld The subject was popular during the Renaissance as symbolising the importance of marriage for the continuity of families and cultures. It was also an example of a battle subject in which the artist could demonstrate his skill in depicting female as well as male figures in extreme poses, with the added advantage of a sexual theme. It was depicted regularly on 15th-century Italian cassoni and later in larger paintings. A comparable opportunity from the New Testament was afforded by the theme of the Massacre of the Innocents. Giambologna The sculpture by Giambologna (1579–1583) that was reinterpreted as expressing this theme depicts three figures (a man lifting a woman into the air while a second man crouches) and was carved from a single block of marble. This sculpture is considered Giambologna's masterpiece. Originally intended as nothing more than a demonstration of the artist's ability to create a complex sculptural group, its subject matter, the legendary rape of the Sabines, had to be invented after Francesco I de' Medici, Grand Duke of Tuscany, decreed that it be put on public display in the Loggia dei Lanzi in Piazza della Signoria, Florence. True to mannerist densely packed, intertwined figural compositions and ambitious overinclusive efforts, the statue renders a dynamic panoply of emotions, in poses that offer multiple viewpoints. When contrasted with the serene single-viewpoint pose of the nearby Michelangelo's David, finished nearly 80 years before, this statue is infused with the dynamics that lead towards Baroque, but the tight, uncomfortable, verticality— self-imposed by the author's virtuosic restriction to a composition that could be carved from a single block of marble— lacks the diagonal thrusts that Bernini would achieve forty years later with his Rape of Proserpina and Apollo and Daphne, both at the Galleria Borghese, Rome. The proposed site for the sculpture, opposite Benvenuto Cellini's statue of Perseus, prompted suggestions that the group should illustrate a theme related to the former work, such as the rape of Andromeda by Phineus. The respective rapes of Proserpina and Helen were also mooted as possible themes. It was eventually decided that the sculpture was to be identified as one of the Sabine virgins. The work is signed OPVS IOANNIS BOLONII FLANDRI MDLXXXII ("The work of Johannes of Boulogne of Flanders, 1582"). An early preparatory bronze featuring only two figures is in the Museo Nazionale di Capodimonte in Naples. Giambologna then revised the scheme, this time with a third figure, in two wax models now in the Victoria and Albert Museum, London. The artist's full-scale gesso for the finished sculpture, executed in 1582, is on display at the Accademia Gallery in Florence. Bronze reductions of the sculpture, produced in Giambologna's own studio and imitated by others, were a staple of connoisseurs' collections into the 19th century. Nicolas Poussin Nicolas Poussin produced two major versions of this subject, which enabled him to display to the full his unsurpassed antiquarian knowledge, together with his mastery of complicated relations of figures in dramatic encounter. One, now at the Metropolitan Museum of Art, was executed in Rome, 1634–35. It depicts Romulus at the left giving the Signal for the abduction. The second version, of 1636–37, now at the Louvre Museum, shows that, though some of the principal figures are similar, he had not exhausted the subject. The architectural setting is more developed. Peter Paul Rubens Peter Paul Rubens painted a version of the subject about 1635–40. It is at the National Gallery, London. Jacques-Louis David Jacques-Louis David painted the other end of the story, when the women intervene to reconcile the warring parties. The Sabine Women Enforcing Peace by Running Between the Combatants (also known as The Intervention of the Sabine Women ) was completed in 1799. It is in the Louvre Museum. David had worked on it from 1796, when France was at war with other European nations after a period of civil conflict culminating in the Reign of Terror and the Thermidorian Reaction, during which David himself had been imprisoned as a supporter of Robespierre. After David’s estranged wife visited him in jail, he conceived the IDEA of telling the story, to honor his wife, with the theme being love prevailing over conflict. The painting was also seen as a plea for the people to reunite after the bloodshed of the revolution. The painting depicts Romulus's wife Hersilia — the daughter of Titus Tatius, leader of the Sabines — rushing between her husband and her father and placing her babies between them. A vigorous Romulus prepares to strike a half-retreating Tatius with his spear, but hesitates. Other soldiers are already sheathing their swords. The rocky outcrop in the background is the Tarpeian Rock. John Leech The English 19th century satirical painter John Leech included in his Comic History of Rome a depiction of the Rape of the Sabine Women, where the women are portrayed, with a deliberate anachronism, in Victorian costume...

Very fine and monumental pair of French 19th century patinated bronze figural torchere sculptures titled "La Nuit" (The Night) attributed to Albert Carrier-Belleuse (French, 1824-188...

A very fine pair of French 19th-20th century neoclassical style patinated cast iron figural torchères by A. Durenne, Paris, each representing a figure of a standing young maiden, her arms raised forward while holding a a flaming urn gas light (Now electrified) with a frosted glass flame, each raised on a veined grey marble column stand, both cast-signed 'A. Durenne, Paris'. Antoine Durenne was an internationally renowned French art founder. He attended École Nationale Supérieure des Beaux-Arts in 1842. Durenne purchased a small foundry in Sommevoire, near the Val d'Osne, Haute-Marne, France and established The Durenne firm, circa Paris, 1900. Cast-iron had been in production during the 18th century but its inferior status to the more fashionable and delicate wrought iron had generally confined its use to architectural work. By the early 19th century, however, rapid developments of the Industrial Revolution combined with the simultaneous burgeoning of a new middle class provided the impetus for a dramatic Expansion in its application and in a short space of time a proliferation of iron foundries across Europe and America thrived on the production of everything from inkstands to railway stations. The use of cast-iron for garden ornament became particularly widespread at this time, as the possibilities for its mass-production at a fraction of the cost of bronze made it the material of choice for outdoor statuary...

A very fine pair of 19th century cobalt-blue and parcel-gilt majolica figural vases, with figures of satyrs and gilt decorations of flowers and butterflies. Probably English, circa 1...

A Large and Impressive French Empire Revival Style Gilt-Bronze and Cut-Glass 'Grande Coupe' Figural Urn Centerpiece, in the manner of Baccarat, the mounts in the manner of and after ...

After Jean Louis Grégoire (France, 1840-1890) A Charming French 19th-20th Century Patinated Spelter Figure of "The Animal Charmer", depicting a sta...

A very fine and large Museum Quality french, 19th century Versailles Style Figural Torchère with two side-by-side Putti in a Brown and Parcel-Gilt Patina Holding a Four-Light gilt bronze Candelabrum with Frosted glass flame shades, by Lacarrière Delatour...

A very fine French 19th century Louis XV style gilt bronze and white marble figural mantel clock. The finely chased ormolu body, with its original two-tone mercury gilt, centered with a circular enameled porcelain clock face with Roman and Arabic numeral dials and inscribed 'A. Thomas - Fabt de Bronze - 56, Rue de Turenne - Paris', surmounted with a pair of playful seated cherubs amidst clouds and wreaths, the case crowned with a figure of a Gallic Rooster (Coq Gaulois...

A Pair of Tall Chinese export porcelain figural vases. The ovoid porcelain bodies decorated with colorful flowers, tropical birds, tree...

A Palatial French 19th century Louis XVI style gilt bronze mantel clock by Lemerle-Charpentier bronzier. The large rectangular gilt bronze body surmounted with floral scrolls and acanthus and crowned with an urn with wreath decorations. The circular porcelain enameled clock dial...

An Imposing fine and large French Art-Deco Spelter (Petit-bronze) figure of a standing semi-nude orientalist maiden in a brown patina, attributed to Louis Hottot (French, 1834-1905). The smiling young topless beauty, posing with her arms outstretched, her hair wrapped with a headscarf centred with a green art-glass bead and a scantily scarf tied around her waist, standing barefoot among tropical shrubs and flowers and raised on a circular mottled green marble base. A brass plaque reads "TYPHA", Paris, circa 1900. Louis Hottot was a French sculpture who mainly specialized in Orientalist female figures and other Orientalist subjects and themes, most of his works were produced in spelter. He exhibited his works at the Paris Salon from 1885 to 1898. Hottot is best known for his Orientalist-themed sculptures, including Almie du Caire, circa 1887 and Fille d'Egypte, circa: 1885. He was a member of the Socie´te´ des Artistes Franc¸ais. Literature: Les Bronzes du XIXe Siecle, P. Kjellberg, Les Editions de L'amateur, Paris. S. Richemond, Les Orientalistes...

A rare set of eighteen Blanc de Chine Style Enameled - Glazed Ceramic Arhat, also known as Luohans, the disciples of Buddha, each bearing the mark and style of the Chinese maker Zeng Longsheng. The Eighteen Arhats (or Luohan) (Chinese: ????; pinyin: Shíba Luóhàn; Wade–Giles: Shih-pa Lo-han) are depicted in Mahayana Buddhism as the original followers of Gautama Buddha (arhat) who have followed the Noble Eightfold Path...

A very fine Italian 19th century Carrara marble sculpture depicting a young beauty going for a Swim standing on the steps of a dock, raised on its ori...

A fine pair of Louis XVI style chinoiserie gilt-bronze mounted Chinese export famille rose porcelain vases. The ovoid hand painted porcelain body with dual scenes of a sword presenta...

A very fine and charming pair of French 19th-20th century Louis XV style Belle Époque figural gilt-bronze chenets. The finely chased whimsical ormolu andirons, each surmounted with a...

A fine French 19th century Polychromed Japonisme life-size cast-metal figure of a standing Geisha, cast after a model by Charles Massé (French, 1855-1913). The standing Japanese beau...

A very fine french 19th-20th century Louis XV style ormolu and white marble three-light candelabra, attributed to François Linke (1855-1946). The single allegorical and whimsical finely chased gilt-bronze Belle Époque group representing a pair of mermaid Putti supporting a cornucopia filled with flowers and fruit topped...

A very fine and large 19th century Chinese export famille verte porcelain and French figural ormolu-mounted Chinoiserie style centerpiece jardinière, in the manner of Edward Holmes Baldock (1777-1845). The circular-ovoid porcelain bowl or cachepot, maybe 18th century Jiaqing period (unverified), decorated with a blue and purple ground background with parcel gilt depicting pagodas, trees, mountains and landscape scenes, flanking scrolled handles issuing from the base and ending with a finely chased ormolu pierced acanthus rim. The two ends with a projected mask of Chinese Imperial lions or foo dogs, surmounted and raised on six finely chased ormolu masks of Bacchus satyrs flanked by seashell-like mounts. The Ormolu, circa Paris, 1880. The Porcelain circa 1800 (Maybe 18th century.) Measures: Height: 15 3/4 inches (40 cm.) Overall width: 21 inches (53.4 cm.) Depth: 17 inches (43.2 cm.) Edward Holmes Baldock (1777-1845) was a prominent London furniture dealer to the Royal Family, father of Edward Holmes Baldock. He was first listed in the London trade directories in 1805. That listing had him operating out of No.7 Hanway Street in London, where he was described as selling "china and glass". An updated listing in 1821 described his business as "an antique furniture and ornamental furniture dealer", and in 1826 as a buyer and seller of "china, cabinets, screens, bronzes etc". Between 1832 and 1837 he sold earthenware and glass products to William IV, and upon the ascendancy of Queen Victoria in 1837, sold china until his death in 1845. Baldock was one of the first antique dealers and is similar to the 18th century marchands-merciers Dominique Daguerre and Simon-Philippe. He was the father of Edward Holmes Baldock (1812-1875), a British Conservative Party politician, and of Mary Frances Baldock, wife of the philatelist W. A. S. Westoby. Famille Verte Famille verte (????, Kangxi wucai...

Pair of French 19th-20th century baroque style patinated bronze figural chenets (Andirons). Each chenet topped with a cherub standing on a stand flanked by styrs and royal goat-heads...

A fine pair of French 19th century Napoleon III Empire style patinated-bronze and gilt-bronze mounted allegorical covered urn vases lamps in the manner of Pierre-Philippe Thomire (Fr...

A charming Continental 19th/20th century whimsical white glazed porcelain group of four putti playing with a goat, probably after the depiction of The Goat Amalthea with the Infant Jupiter by the Italian artist Gian Lorenzo Bernini, (Italian, 1598-1680), depicting four playful putti, one riding the goat, another feeding it, a third one holding on to it and the forth one, Jupiter, feeding from it. Stamped (unknown). Probably Italian. Circa: 1900. Measures: Height: 14 3/4 inches (37.5 cm) Width: 15 3/4 inches (40 cm) Depth: 10 1/2 inches (26.7 cm) Myth The goat of Amalthea is a divine goat who fed the baby Zeus with its milk. Its name is translated from the ancient Greek and means “gentle goddess.” Zeus’ father, Kronos (Cronus, Cronos), fearing to lose his power, swallowed up all his newly born children. His wife Rhea suffered greatly from this, and when the next child was born, she slipped a stone wrapped in diapers instead of Kronos. Kronos swallowed the stone, not suspecting anything, so the kid had to hide. Rhea hid him on the island of Crete in the cave of Mount Ida...

A fine French early 20th century patinated bronze group of "The Forbidden Fruits, after Jean Verschneider (French, 28 August 1872 - 20 December 1943)...

A very fine and large 19th century Chinese porcelain and French figural ormolu-mounted Chinoiserie style centerpiece. The circular ovoid bowl, maybe 18th century Jiaqing period (unve...

Ferdinando Vichi (Italian, 1875-1945) A fine and lifesize Italian white Carrara marble Greco-Roman figure of the Belvedere Apollo, after the original, now in the Vatican Museum, the Belvedere Apollo has defined the Greek aesthetic ideals of harmony, noble simplicity and quiet grandeur. Apollo is depicted as an archer, having just killed the Python of Delphi. The carved figure displays the tension lingering as if the arrow has just left his bow. Standing on an oval base inscribed: F. Vichi, Firenze, Made in Italy. Florence, circa 1895-1900. Measures: Height 68 inches (192 cm) Width 47 1/4 inches (120 cm) Depth 38 1/2 inches (97.8 cm) Width of base 25 inches (63.5 cm) Former Property of Adolph Henrich Joseph Sutro's famous Cliff House and indoor public swimming establishment, The Sutro Baths...

A fine over-lifesize patinated bronze Greco roman revival style standing half-figure of Andromeda, probably French, probably late 19th century or early 20th century. The heavily fine...

A very fine and exceptionally carved Italian 19th-20th century Baroque Revival style whimsical white Carrara marble wishing wellhead, raised on an octagonal two-step marble base. The intricately carved marble relief circular wellhead depicting carved figures of dancing and cheerful children (Putti) among vines, flowers and fruits, dancing and playing musical instruments with a backdrop of castles, landscapes, forests and wreaths, Florence, circa, 1900. Note: We have part II video of this amazing Wishing Wellhead. Please feel free to request a copy. Literature: A similar wellhead was sold by Jan's & Co. Fine French Antiques, Inc. in 1999, provenance the Atkinson/Kirkeby Estate and it is illustrated in "The Estates of Beverly Hills" by Charles Lockwood and Jeff-Hyland, page 150. Another similar is currently on display at the gardens of "The Elms" mansion a public museum part of the Newport Mansions by The Preservation Society of Newport County in Newport, Rhode Island. Yet another similar wellhead carved with frolicking putti with musical instruments and a dentil molded rim is located at Cranbrook House, Bloomfield Hills, Michigan, and is illustrated in B. Israel, Antique Garden Ornament...

A fine and rare 19th-20th century neoclassical Revival style silver plated metal and cut-glass centerpiece in the manner of Christofle. The boat-shaped ornately body with finely chas...

A fine French 19th century Louis XV style gilt-bronze and ebonized wood wall-mounting barometer - thermometer by Molteni Frères. The elongated ebonized body surmounted with gilt-bron...

A very fine French 19th century neoclassical style silver-plated figural centerpiece, in the manner of Christofle and a design by Mathurin Moreau (French, 1822-1912). The circular or...

A fine pair of French 19th-20th century Louis XV style gilt bronze and Faience porcelain three-light candelabra table lamps. The ovoid porcelain urn hand decorated in floral burgundy...

A very fine and palatial pair of French 19th century Louis XV style marble and gilt bronze mounted four-light figural candelabra by Henri Vian, (French, 1860-1905). The ovoid marble ...

A fine and large French 19th century Orientalist style life-size patinated and parcel-gilt bronze sculpture of "La Danse des Oeufs" (The Dance of Golden Eggs) also known as "La Danse...

A very fine and palatial French 19th century Regence style figural ormolu-mounted kingwood and tulipwood floral marquetry long-case regulator, after a Model by Charles Cressent (Fren...

A very fine and charming Italian 19th century carved Carrara Marble Group "Playful Putti with Goat" depicting two young children, one riding the goat whose two front legs are in the ...

A very fine pair of French 19th century Louis XVI style patinated and gilt bronze figural two-light candelabra after a model by Claude-Michel Clodion (French, 1738-1814), one modeled...

A very fine French 19th Century Louis XVI style ormolu-mounted amaranth, tulipwood, sycamore and parquetry pedestal Régulateur de Parquet Tall Case Clock, Attributed to Alfred Emmanuel Louis Beurdeley (French, 1847-1919) After the model attributed to Jean-Henri Riesener, surmounted by a cloud-form case cast with three putti cherubs suspending garlands, centred by a white enamel dial with Roman numerals, on a spreading socle with ribbon-hung garlands, above the square tapering pedestal headed...

A fine pair of French 19th century Rouge-Royal marble and figural gilt bronze-mounted flambeaux urns surmounted with four ormolu figures of dolphins supporting the center urn with th...

A very fine and rare lifesize French 19th century patinated metal figure of a standing maiden holding a lantern, the impressive figure depicting a young scantily dressed and barefoot...

A very fine and charming Italian 19th-20th century patinated bronze figure titled "Il Granchio" after a model by Annibale de Lotto (Italian, 1877-1932), depic...

A very fine and impressive pair of French 19th century Louis XVI style ormolu-mounted blue-glazed enamel over bronze vases with allegorical masks, rings and wreaths. The porcelain is...

A large and impressive French 19th century life-size bust depicting Othello, the North African Moor of Venice character in the 1603 play written by William Shakespeare (1564-1616), a...

A very fine museum quality Italian 19th-20th century life-size marble sculpture titled "Searching for Love" by Vito Pardo (Italian, born in Venice in 1872) Depicting a semi-nude life...

A very fine and large Italian 19th-20th century Carrara marble group "Allegory to Music" depicting five Bacchic putti musicians playing various instruments. The finely carved Palatia...

A very fine and important palatial Louis XV style 19th-20th century figural gilt bronze white marble mantel clock with figures of cherubs, the enamel dial with Arabic numerals and fo...

A very fine and palatial French 19th-20th century allegorical figural cast-iron group torchere - sculpture - fountain - representing spring and the harvest, probably cast by Le Fonderies d'Art du Val d'Osne. The charming four-putti sculpture with a front standing putto holding a pole amongst wheat stalks, another putto kneeling and collecting wheat, a third one wearing a hat and picking flowers for a wreath and the fourth kneeling putto holding a bird's nest, all below an elongated classical stem with a glass globe (Electrified), circa: Paris, 1900. Overall height: 84 inches (213.4 cm). Width: 29 1/2 inches (74.9 cm). Circular base diameter: 24 inches (61 inches). Cast-iron had been in production during the 18th century but its inferior status to the more fashionable and delicate wrought-iron had generally confined its use to architectural work. By the early 19th century, however, rapid developments of the Industrial Revolution combined with the simultaneous burgeoning of a new middle class provided the impetus for a dramatic expansion in its application and in a short space of time a proliferation of iron foundries across Europe and America thrived on the production of everything from inkstands to railway stations. The use of cast-iron for garden ornament became particularly widespread at this time, as the possibilities for its mass-production at a fraction of the cost of bronze made it the material of choice for outdoor statuary...

A very fine and Palatial French 19th Century Louis XV Style gilt bronze figural cartel clock by Lerolle Frères, the finely frame body with a circular face with Roman numerals, the ce...

A large Italian 19th-20th century neoclassical and Greco-Roman style architectural scagliola wall plaque depicting chariots, horses, allegorical maidens and gods, inlaid and painted ...

A large Italian 19th-20th century neoclassical and Greco-Roman style architectural Scagliola wall plaque depicting chariots, horses, allegorical maidens and gods, inlaid and painted ...

Gaston Leroux (French, 1854-1942). A very fine French 19th century polychromed and patinated bronze sculpture of "Aida" resting on a sphinx, her legs crossed and holding a gilt-bronze tambourine, after the model by Gaston Veuvenot Leroux "Aida, A Femme Au Tambourin Assise Sur Une Tete De Sphinx". Signed: Gaston Leroux, Paris, circa 1890. Measures: Height 29 inches (74 cm). Width 15 inches (38.1 cm). Depth 15 inches (38.1 cm). The opulent and extensively detailed version of Aida was inspired by ethnographic findings of the mid-19th century in ancient Egypt as well as the influences of theatre and costume design. Travelers to the East had often recorded their journeys, either in writing or in pictures, but the movement of Egyptomania was wider-reaching than Egyptology. The immensely popular vogue of Egyptomania is without doubt due to the success of performing arts in recreating this era, in particular, Giuseppe Verdi's Aida. Both the Cairo and Paris premieres created sensations so large that they influenced generations of artists from Alexander Cabanel to Cecil de Mille. In Aida, the ruins of Egypt were brought back to life in full color and scale before the eyes of a generation that would make history as romantics, adventurers and explorers. The Cairo premier of Aida was entirely conceived by one of the foremost Egyptologists of the day, Auguste Mariette, who was assigned to the project by Khedive Ismail Pasha...

A fine French 19th-20th century Art-Nouveau patinated bronze bust of "Marie Antoinette" (Queen of France 1755-1793), after the model by Agathon Léonard or Léonard Agathon van Weydeve...

A monumental architectural French 19th century neoclassical Revival gilt bronze mounted beige and red onyx longcase grandfather clock. The very impressive clock-case surmounted by a figure of seated Classical male figure...

A very fine French 19th century Patinated bronze Figure of "Milo of Croton and the Lion" after the marble sculpture of Milon de Crotone by renown French...

An Italian 19th century grand tour - Greco Roman bronze sculpture of Narcissus, after the original sculpture excavated in 1862 at Pompeii. The green...

A charming Italian 19th-20th century carved alabaster bust of a young girl. The young beauty posing with a direct gaze, her hair tied with a head bandana tied on her forehead wearing a tank top, raised on a tapered alabaster stand...

An Italian 19th-20th century carved color-alabaster bust of a young beauty. The finely carved two-tone alabaster bust, depicting a young girl posing with a side gaze and wavy hair ti...

A charming Italian 19th-20th century carved alabaster figure of a fisher boy. The young boy wearing a blouse, with his pant legs rolled up to his knees and ...