Caucasian Silk Embroidery
LOT 0076
Estimate
€2,500-€3,500
Austria auction company,Apr 06, 2024 4:00 PM GMT+2
Starting Price
€1,400
https://www.liveauctioneers.com/price-result/caucasian-silk-embroidery/
Caucasian Silk Embroidery
LOT 0076
Estimate
€2,500-€3,500
Austria auction company,Apr 06, 2024 4:00 PM GMT+2
Starting Price
€1,400
https://www.liveauctioneers.com/price-result/caucasian-silk-embroidery/
LARGE MAMLUK SILVER-INLAID BRASS CANDLESTICK
EGYPT OR SYRIA, PERIOD OF SULTAN AL-NASIR AL-DIN MUHAMMAD BIN QALA'UN (1293-1341 AD), FIRST HALF 14TH CENTURY
Important information about this lot
*
VAT (reduced rate)
Estimate
GBP 180,000 – GBP 220,000, Christie’s,
AN EXCEPTIONAL LARGE SAFAVID FIGURAL VELVET PANEL
IRAN, FIRST THIRD 17TH CENTURY
Estimate
GBP 400,000 – GBP 600,000, Christie’s
Sold for GBP 478,800
An important illuminated album of nasta‘liq calligraphy by Mir Ali, Central Asia, Bukhara, dated 950 AH/1543 AD, with imperial Mughal library notes and inscriptions by the emperors Jahangir and Shah Jahan
VAT reduced rate
Estimate
70,000 - 90,000 GBP, Sotheby’s
Sold for 215,900 GBP
Rare Safavid silk tomb cover, Persia, dated 1110 AH/1698-99 AD
VAT reduced rate
Estimate
150,000 - 200,000 GBP, Sotheby’s
A rare intact Abbasid lustre pottery bowl depicting a griffin, Iraq, 9th/10th century
Margin Scheme
Estimate
80,000 - 120,000 GBP, Sotheby’s,
Sold for 101,600 GBP
Regency gilt-bronze and stained-glass hall lantern, circa 1815, attributed to George Bullock
UK: Greenford Park Warehouse
Estimate
15,000 - 25,000 GBP
Sold for 24,130 GBP, Sotheby’s
Régence black-japanned commode, circa 1725
UK: Greenford Park Warehouse
Estimate
18,000 - 25,000 GBP, Sotheby’s
Paris Porcelain Ornithological Part-Dinner Service, Early 19th Century
Estimate
30,000 - 50,000 USD, each piece painted with a vignette of a named bird specimen in its natural habitat within a gray-ground border decorated with beribboned trophies around the rim, comprising:
2 soup tureens, covers and stands;
4 sauce tureens, covers and fixed stands in two forms;
94 dinner plates;
6 circular dishes;
and 19 soup plates without bird subjects,
specimen script marks, EMS monogram mark in black enamel, incised marks. 133 pieces.
width of tureen stands 15 3/8 in.
39.1 cm,
Sold for 27,940 USD
Gilt Bronze Mounted Sèvres Style Porcelain Urn
LOT 0091
Estimate
$3,000 -$5,000, Freeman auction,
Sold for $6,000
https://www.liveauctioneers.com/price-result/a-gilt-bronze-mounted-sevres-style-porcelain-urn/
Pair of gilded and patinated bronze statuettes from the Empire period, 19th century, after Antoine-Denis Chaudet (1763-1810)
Estimate
2,000 - 3,000 EUR, Sotheby’s,
Sold for 6,985 EUR
TIFFANY Antique Opaque Favrile Glass Vase, Sgn
LOT 0389
Estimate
$200-$500
Sold for $16,000
https://www.liveauctioneers.com/price-result/tiffany-antique-opaque-favrile-glass-vase-sgn/
Pair of Louis XV Silver Candlesticks, Jean Mauzié, Paris, 1734
Estimate
4,000 - 6,000 USD
Lot Details
Description
A Pair of Louis XV Silver Candlesticks, Jean Mauzié, Paris, 1734
on circular bases with gadroon borders, chased with lappets on shaped matted ground, flaring circular stems with stopped flutes below female masks crowned with diadems, banded campana sconces, detachable plain circular nozzles; engraved with 19th century arms under a marquis' coronet, marked on underside with discharge mark on base rim, the nozzles with maker's mark GT crescent below
40 oz. 10 dwt.
1,256 g
height 9 1/4 in.
23.5 cm, Sotheby’s
A French gilt-bronze mounted mahogany and burr cabinet, late 19th century, attributed to François Linke
Estimate
6,000 - 10,000 GBP, Sotheby’s
A French gilt-bronze mounted mahogany and burr cabinet, late 19th century, attributed to François Linke the rectangular marble top above three doors each opening to two adjustable shelves, the top with numbers 2 / 4452 in black ink, the lock stamped 'CT LINKE / SERRURERIE / PARIS'
133cm. high, 157cm. wide, 47cm. deep;
4ft. 4 3/8in., 5ft. 1 7/8in., 1ft. 6 1/2in.
Estimate
EUR 400,000 – EUR 600,000.
AN EXCEPTIONAL COPY BOUND IN DARK BLUE MOROCCO WITH THE ROYAL COAT OF ARMS: THE MOST COMPLETE AND DESIRABLE EVER OFFERED.
The "Cabinet du Roi" refers to the engraved plates commissioned during the reign of Louis XIV and the works printed from them. This triumphal procession of paper was intended to celebrate the scientific advances, artistic achievements and military exploits of the monarch and his reign. Jean-Baptiste Colbert, Controller of Finances, played a key role to its realization. He early understood that "the print, a work of art but also a multiple signifier, had its rightful place in an ambitious cultural policy aimed at making the world and posterity aware of the splendours of the reign of Louis XIV: through its impact, it was a perfect propaganda tool" (M. Grivel, Graver pour le roi, p. 21).
To execute this masterpiece, nothing was left to chance: the best engravers, burinists and aquafortists were called in, only quality paper and ink were used, and the copies were bound in gilt morocco. It was contrasting the formal austerity often favoured by booksellers of the period. The Cabinet du roi was the leather and paper embodiment of the splendours of the reign of Louis XIV. Once printed and bound, copies were frequently offered to princes and great lords, ecclesiastics, magistrates, scholars and, of course, ambassadors who, by virtue of their position, helped the plates to be distributed to all the courts of Europe, and indeed the whole world, as far afield as Constantinople, Asia and Persia.
During the 17th century, these thematically grouped plates were published in large folio volumes "covered in incarnate morocco". The idea of a "catalogue" or "cabinet" was not yet present in the minds of the genial instigators of this formidable publishing and artistic enterprise. The end of the reign of Louis XIV, marked by great financial difficulties, brought the distribution of engravings from the royal collections to a halt. The light of the Sun King no longer shone as brightly.
Nevertheless, successive guards of the king's library set about inventorying the stocks of prints and replenishing those that were missing, as well as expanding the collections. The Abbé de Louvois thus ordered the purchase of some of Van der Meulen's plates and those of Les Batailles by Sébastien de Pontault de Beaulieu.
During the Regency, Abbé Bignon, the King's librarian from 1719 onwards, completely redesigned and re-edited what was now called Le Cabinet du Roi. He condensed the palaces and houses, collections, festivals and royal conquests into 23 volumes. The scientific and cartographic volumes were removed. Starting in 1723, 50 copies were printed on large eagle paper and published a catalogue (reprinted in 1743).
Of these 50 copies, no one knows how many have survived. It is certain that the copy presented here, comprising 21 of the 23 volumes, superbly bound in blue morocco with the royal coat of arms, is the finest and most desirable in private hands.
21 large folio volumes (625 x 450 mm). illustrations: 794 engravings on 666 leaves. Contemporary binding probably exectued by the royal binder workshops: dark blue morocco, double framed with triple gilt fillet, gilt crowned cipher in the corners, royal gilt coat of arms in the centre of the boards, spine ribbed and decorated with crowned cipher and fleur-de-lys, gilt lettering, gilt edges.Christie’s
A Venetian glass enamelled and gilt footed bowl, early 16th century
Estimate
6,000 - 8,000 GBP
Sold for 25,400 GBP
The Hopkins Family Block-and-Shell Carved Mahogany Kneehole Bureau,
probably Providence, Rhode Island, c. 1790.
THE WILLIAM DANA LIPPMAN COLLECTION SPLENDOR OF AMERICAN FURNITURE BONHAMS SKINNER
14 November 2023, 10:00 EST
Skinner Marlborough, Massachusetts
Sold for US$108,450 inc. premium
Extraordinary Chippendale Cherry Carved Chest on Chest,
attributed to Benjamin Burnham (c. 1729-73), Colchester, Connecticut, c. 1770.
THE WILLIAM DANA LIPPMAN COLLECTION SPLENDOR OF AMERICAN FURNITURE BONHAMS SKINNER
14 November 2023, 10:00 EST
Skinner Marlborough, Massachusetts
US$300,000 - US$500,000, Bonhams
Sold for US$381,500
An important Dutch diamond-point engraved calligraphic green glass roemer by Willem Jacobszoon van Heemskerk, second half of the 17th century
November 8, 02:38 PM SAST
Estimate
20,000 - 30,000 GBP
Lot Sold
215,900 GBP Sotheby's
Dealers focus: Dalva Brothers was founded in 1933 by Leon Dalva Sr. and his brothers. He and his wife Jean ran the gallery until they were joined by their sons David II and Leon Jr. The founder’s grandsons, David III, and most recently Adam are the third generation of Dalvas to work here. We have recently moved to a six story historic townhouse at 53 East 77th Street after over 60 years on East 57th Street.
Dalva Brothers has one of the finest and largest inventories of 18th century continental decorative arts in the world, including furniture, porcelain, clocks, and sculpture, displayed in period paneled rooms. We have sold pieces to interior decorators, collectors, dealers, and museums, including the J. Paul Getty Museum, the Metropolitan Museum of Art, and the Louvre. Our collection ranges from masterpieces with royal provenance to beautiful but more accessible pieces that reflect the amazing craftsmanship and design skills of eighteenth century Europe.
Dealer focus: Bluett & Sons were founded by Alfred Ernest Bluett (d.1917) in c.1884. In 1907 Leonard Buckland Bluett (d.1963) joined the firm, and he was joined by his brother Edgar Ernest Bluett (d.1964) by 1910. Bluett's were world famous and leading specialist in the sale of Chinese works of art over the course of the 20th century, selling objects to many major collectors and museums.
In 1978 Dominic Jellinek joined the firm - Dominic also kindly supplied information from his researches into Bluett & Sons. See Dominic Jellinek, 'The Bluett Archive: a curious acquisition', Transactions of the Oriental Ceramics Society Volume 77, 2012-13, pp1-12.
Edgar Bluett was one of the founding members of the BADA in 1918.
The beginning : Gilt bronze and crystal
Marie Jeanne Rosalie Désarnaud (1775 -1842) opens around 1808 her shop in the galleries of the Palais-Royal gardens with her brother Philippe Auguste Charpentier (1781-1815), famous gemstones and crystal engraver. Quickly the business obtains prestige and reputation. In 1812, they specialize the production by associating the cut crystal with the gilt bronze for the fabrication of decorative arts and furniture like the famous dressing table of the Duchess du Berry (Orsay Museum). The folowing year, they continue to develop the production by adding the selling of cristals, porcelaine and alabaster objects. It’s the same year that a surprising stair with crystal balusters is set in the shop, and becomes its emblem.
Owner of the store after her brother’s death, in 1815, the Désarnaud widow continues to make her shop thrive. She’s aiming royal customers and obtains the patent of “Cristals supplier of the King”. She participates during the Louvre exhibition in 1819 and is rewarded with a gold medal for the crystals adorned with bronze. It’s during this exhibition that she exhibits the crystal and gilt bronze dressing table with its crystal chair.
As she became a very rich woman, Marie Désarnaud sold her business in 1829 to Jacques Boin, crystal carver and engraver. 1829-1840
The Boin-Lahoche association and the tableware development
In the beginning of the 1830’s, Boin keeps the prestige attached to the Désarnaud widow’s shop as the Royal customers keep coming. Nevertheless, the new name reduced the mention « à l’Escalier de Cristal » to « Boin tailleur et graveur sur cristaux » (Boin carver and engraver on crystals).
Perhaps because of some commercial difficulties, Boin associates in 1840 with another storekeeper, Pierre-Isidore Lahoche, who strongly contributes to the return of the store’s prestige. This new association coincide with the development of the Russian service in France. Needing new pieces for the service, it’s a real chance for the two sellers. Thus, they participate in 1844 in the Exposition des produits de l’industrie, and are noticed by journalists who are giving their approval for the new store production.
The Pannier family
In 1852, Pierre Isidore Lahoche decides to associate with Emile Pannier, son of a ceramicist and married to his daughter, Célina Lahoche.
The 1850’s are also the beginning of the first International Exhibitions to which the store assidiously participates, causing the increase of its reputation in France but also overseas. Wanting to conquer more and more international customers, Lahoche and Pannier do not hesitate to cross the Alantic ocean and show their articles in New York where they were rewarded with a silver medal in 1853. They also are rewarded with another silver medal during the International Exhibition of Paris in 1855 and an order from Napoleon III. He buys them a ruby crystal cut with a gilt bronze cone.
Their success is due to their capacity to follow the trends and the taste of their time. Moreover, caring to touch always more and more customers, Lahoche and Pannier also produce objects more affordable, especially thanks to new proceeds such as the electroplating. Thus, the store allowed more modest customers to buy objects of “good taste” while imagining belonging to a higher social category.
The London International Exhibition of 1862, where their production wins a bronze medal, is the last one to which the partners participate together. In 1863, Lahoche retired from the business. Émile Pannier, thus only manager, keeps the double name a few years to keep the good reputation associated to Lahoche name. Émile Pannier and the Second Empire changes
The 1867 International Exhibition in Paris is a very important event for Emile Pannier, as it’s his first participation alone. For the occasion, though he still keeps the name of his previous partner, he exhanges the place of the names, his own being read before Lahoche.
L’Escalier de cristal obtains a new bronze medal and many praises. Thus, we can read on the exhibition catalogue « Each exhibition is an occasion to triumph for l’Escalier de cristal ; its reputation seems no to get bigger, and it could take this proud old gentry houses motto : I will maintain. But in the industry, maintaining is progressing. Mr. Pannier-Lahoche, its young and smart director, knows it and prove it. The window displays that were given to him in the palais de l’Industrie are too small to contain all the masterpieces coming out his workshops.
He organizes in his stores in the Palais-Royal a permanent exhibition that allows to judge better the ressources and the importance of his house. It’s there that are set up in all their brigthness, the complete porcelaine tableware and the decorated crystals with gilt bronze mounted and old silver surtouts of which the house has made its speciality[…] ».
The important quality of its production brings to the store a more extended royal clientele. Such as the Tsar, the Austria Emperor, the Spain, Portugal, Prussia, Holland Kings, the Wurtemberg dukes and the Orange and Wales Princes.
The move of the store
After existing almost 70 years and the succession of four different owners, the store l’Escalier de Cristal is moved in the new district of the baron Haussmann, in front of the opera still being built, in the 6 rue Scribe and 1 rue Auber in 1872. Aware of the importance of the famous crystal stairs, true emblem of the store, it is also moved in the new location. Nevertheless, the engravings published in the newspapers show that it now only has one side instead of two. The new store, vaster than the previous one on the Palais-Royal galleries, allows a more extended production and an exhibition more structured looking like a private house, thus, winning the fidelity of the clients.
The Pannier brothers, last owners
Émile Pannier gives the store in 1885 to his two sons Georges (1853-1944) and Henry (1855-1935) who he trained. Trends creators, they succeed to maintain, in the decoration field, a high quality tradition, by adapating the production to the taste of the period. Very creative, it’s to Henry that we owe many creation models and a bigger success of the production in the actual market.
Following the store tradition since its beginnings and not possessing real workshops in the company, the Pannier brothers ask the best artists to realize the merchandise. Henry’s notebooks are a true source of informations. We find in it the partners and clients names and very precise draws of the works of art, allowing attributions when the signature is absent. Nevertheless, there are only the objects created for the store and not the ones that have been droped for sell. The only exception is for the ones imagined by Emile Gallé who put his signature next to the store one.
The Japonisme
After the Japan participation to the 1867 International Exhibition and the discovery of its art so different from the traditionnal European criteria, a true enthusiasm appears. The European artistic production follows this trend and many artists and furniture makers specialize themselves in Japan inspired creations, like Lièvre, Viardot or event Rousseau for the glass. The Pannier brothers find in this new trend the occasion to diversify their production. Henry uses especially the Japanese stamps of which he takes the motif to be inspired or to simply use them to serve as decoration on ceramic or glass pieces.
The furniture production
The marriage of Georges with Julie Damon, heir of the famous furniture house Damon-Kriege was advantageous to the idea of the furniture creation.
From 1891, l’Escalier de Cristal appears in the Didot-Bottin for the first time in the “fabrication and selling of furniture” section.
The Henry Pannier’s notebooks permit to have better and almost complete knowledge of the production. We notice that a large part regards the 18th century inspired furniture, still trending in the late 19th century.
Nevertheless, we also see creation furniture inspired by the Japan trend. It seems important to underline the importance of Edouard Lièvre’s influence, of who some draws and models, sold during his after death sell in 1890, were bought by the Pannier brothers. True source of inspiration for some Henry’s creations, it’s a particular model which was the main inspiration for the series of six Japanese cabinets. Four of them have been today found, one in the Hermitage Museum in Saint-Petersburg bought by a Russian client, the grand Duke Wladimir, three others sold recently in auctions.
We also read in the notebooks the participation of important late 19th century furniture making names such as Gabriel Viardot or even Louis Majorelle, other proof of the importance of the store on the artistic scene of this period.
Closing of the store
L’Escalier de Cristal was closed because of the events that come to disrupt the early 20th century and the sudden death of the main heir.
Indeed, the two brothers have judged that Jean Pannier, Henry’s son was not able to take the direction because of his lack of competences and taste for the arts. On the contrary, Robert, Georges’ son was all destined thanks to the commercial formation he received and his artistic competences. Unfortunatly, he dies in 1907, while he was only 22 years old.
Moreover, even though until now Henry and Georges follow the trends to respond to their clients tastes, we notice that the production lines are not evolving toward the Art Nouveau style and even less the Art Deco style around the 1920’s. Indeed, the decoration which tends to purify is not corresponding to the Pannier brothers spirit.
Finally, the World War I and the Russian revolution of 1917 come to challenge the luxury trade and especially the rich clientele of the store composed in its major part by the Russian gentry.
A George III gilt-lacquered brass mounted mahogany, stained sycamore, tulipwood-banded and inlaid commode, circa 1765-70, attributed to John Cobb
Restricted Species
UK: Greenford Park Warehouse
Estimate
150,000 - 250,000 GBP, Sotheby’s
Sold for 577,850 GBP
FROM THE ROTHSCHILD COLLECTIONS
ANTWERP CABINET OF THE BAROQUE PERIOD
ATTRIBUTED TO HENDRIK VAN SOEST, ANTWERP, CIRCA 1710
Estimate
EUR 200,000 – EUR 400,000, Christie’s
Sold for EUR138,600
Collection of General Baron Haro van Hemert tot Dingshof (1879-1972)
A LONGQUAN CELADON 'PEONY' RIBBED CHARGER
CHINA, MING DYNASTY, 14TH-15TH CENTURY
Important information about this lot:
Diameter: 42 cm. (161⁄2 in.)
Estimate
EUR 3,000 - EUR 4,000, Christie’s
Sold for EUR3,780
Karabagh Silk Embroidery, South Caucasus, 18th Century
1 ft. 10 in. x 1 ft. 9 in.; backed
Estimate: $10,000 - $20,000
Sold for $22,500 Kaffel collection, Grogan and Company
Edmonia Lewis
1844 - 1907
Hiawatha's Marriage
signed Edmonia. Lewis and dated Roma 1870 (along the base); titled Hiawatha's Marriage. (along the base)
marble
height: 27 ¼ in. (69.2 cm.)
Conceived in 1866; this example executed in 1870. Got $1,633,000 at Sotheby’s
When Edmond Walter Rundell, nephew of Philip Rundell, was admitted as a partner in 1804, the firm's name changed to Rundell, Bridge & Rundell.That same year John Gawler Bridge, nephew of John Bridge also joined the firm. Following John Bridge's death in 1834 a new partnership was formed comprising John Gawler Bridge, Thomas Bigge, John Bridge's nephews and Bigge's son, and the firm changed its name to Rundell, Bridge & Co.
The firm was appointed as one of the goldsmiths and jewellers to the king in 1797 and Principal Royal Goldsmiths & Jewellers in 1804, and the firm held the Royal Warrant until 1843.
Amongst its employees were the well-known artists John Flaxman and Thomas Stothard, who both designed and modelled silverware. Directing their workshops from 1802 were the silversmith Benjamin Smith and the designer Digby Scott; and in 1807, Paul Storr, the most celebrated English silversmith of the period, took charge, withdrawing from the firm in 1819 to establish his own workshops.
The Royal Goldsmiths served four monarchs: George III, George IV, William IV and Victoria. In addition, their name was attributed to the 'Rundell tiara', made for Princess Alexandra in 1863.
From Versailles: A Louis XVI amaranth and bois satiné commode by Jean-Henri Riesener, circa 1779
UK: Greenford Park Warehouse
Lot closes
April 11, 05:05 PM SAST
Estimate
80,000 - 120,000 GBP
Sold for GBP88,900
Sotheby’s