Bouhon Attr Louis XVI Style Gilt Bronze Chenets

Pair of Louis XVI gilt bronze andirons cast with scrolling foliate design and florettes, each upon four paw feet. Dimensions: Each: 14.25" H x 10.5" W x 5.25" D. Dealer: S138XX.

French Louis XIV manner pair of chenets / andirons in gilt brass. Measures: 24" H x 20" D x 10" W. Provenance: Property removed from an Upper East Sid...

Louis XVI style gilt metal mounted console of d-shaped form with conforming breche d'abricot marble top, the apron to vitrucian scrollwork mounts, above tapering columnar stop fluted...

Louis XVI style gilt metal mounted Carrara marble topped side table, with galleried rectangular top above two short drawers on cylindrical tapering fluted legs on toupie feet. Deal...

Federal style brass andirons in the colonial taste with urn-shaped finials above a turned shaft on two cabriole legs terminating in stylized lions' feet....

Federal style brass and steel andirons marked "Puritan" the brass uprights of typical finial topped turned form on two legs, with hinged steel log support. Dimensions: 20" H x 5" W ...

This wonderful pair of Louis XVI-style bronze chenets features patinated, cloaked cherub figures seated on ornate gilt bronze plateau and keeping t...

A highly stylized pair of 19th Century Louis XVI style gilt bronze chenets featuring torchier, arrow quivers, and rose garlands.

A fine pair of French 19th century Japonisme Louis XV style Gilt-Bronze and Marble Figural Chenets (Andirons) by BOUHON FRES, each depicting a flaming dragon atop an "L" shaped base surmounted with an allegorical gilt-bronze and marble urns with floral garlands and paw-feet, the base with a draped ormolu design and raised on tapered feet. Stamped: "B&H". Circa: Paris, 1890-1900. The bronziers Bouhon et Cie. Bouhon Frers. specialized in bronze-decorated fire-places and fire-fittings. These large and fine chenets are supreme examples of their output. The firm participated in the 1878 and 1900 Paris Expositions Universelles. Japonisme[a] is a French term that refers to the popularity and influence of Japanese art and design among a number of Western European artists in the nineteenth century following the forced reopening of foreign trade with Japan in 1858. Japonisme was first described by French art critic and collector Philippe Burty in 1872.[3] While the effects of the trend were likely most pronounced in the visual arts, they extended to architecture, landscaping and gardening, and clothing.[4] Even the performing arts were affected; Gilbert & Sullivan's The Mikado is perhaps the best example. From the 1860s, ukiyo-e, Japanese woodblock prints, became a source of inspiration for many Western artists.These prints were created for the commercial market in Japan. Although a percentage of prints were brought to the West through Dutch trade merchants, it was not until the 1860s that ukiyo-e prints gained popularity in Europe. Western artists were intrigued by the original use of color and composition. Ukiyo-e prints featured dramatic foreshortening and asymmetrical compositions. Japanese decorative arts, including ceramics, enamels, metalwork, and lacquerware, were as influential in the West as the graphic arts. During the Meiji era (1868–1912), Japanese pottery was exported around the world. From a long history of making weapons for samurai, Japanese metalworkers had achieved an expressive range of colours by combining and finishing metal alloys. Japanese cloissoné...

A fine pair of French 19th century Louis XV style gilt bronze figural chenets (Andirons), each depicting a classically draped reclining figure, one male holding a Hammer and the othe...

A large and impressive pair of Louis XVI style gilt bronze chenets showing applied lyre shaped elements fronting torchere shaped co...

Each with a recumbent winged sphinx with scrolling foliate arabesques to their back, upon a bow-ended rectangular gadrooned plinth, the frieze with a panel applied with entrelacs, on fluted toupie feet. Several models of chenets with sphinx exist, dating from the 1780s. An example with winged sphinxes with headresses and with female mask centering the frieze, attributed to either Pierre Gouthière or Pierre-Philippe Thomire, exists in several versions in the Louvre, Versailles and the Cleveland Museum of Art (see H. Ottomeyer/P. Pröschel et al., Vergoldete Bronzen, Munich, 1986, vol.I, p.276, fig. 4.11.14.). This model is based on a drawing by the architect François-Joseph Bélanger in the Bibliothèque Nationale, illustrated op. cit., fig. 4.11.13. Another type of sphinx chenet...