Jakob Müller Antiquitäten

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Exzellentes Paar Louis-XV-Leuchter wohl nach einem Entwurf von J.-A. Meissonier

Exzellentes Paar Kerzenleuchter, einflammig, mit bewegtem, verspieltem Rokoko-Dekor: auf passig geschweiftem Rundfuß ein gedrehter Balusterschaft mit jeweils drei Trophäenkartuschen, welche die Allegorien der Kriegskunst, Architektur und Künste zeigen. Auf diesen sitzen in bewegter Haltung jeweils drei ineinander verschlungene Putti, die über ihren Köpfen die Kerzentülle tragen. Die Kerzentülle ist von sechseckiger Form mit Kassettengliederung, die Wachsmanschetten sind abnehmbar und entsprechend des Leuchterfußes geformt. Der sich in diesem Leuchterpaar manifestierende "Gout pittoresque", einem Stil, der sich gegen die Symmetrie des Dekors richtete und versuchte, diese mit allen Mitteln zu verschleiern, fand seine schönsten und bedeutendsten Ausprägungen in den Entwürfen des italienisch-stämmigen Zeichners, Malers, Architekten und Goldschmieds Juste-Aurèle Meissonier (1695-1750), dem auch der Entwurf dieses Leuchterpaares zugeschrieben werden kann. Vergleichbare Entwürfe finden sich in dem von ihm bei Huquier herausgegebenen Zeichenwerk, 'Livre de Chandeliers de Sculpture en Argent', 1728, figures 73 to 75. Literatur: Ottomeyer, H., Pröschel, P., Vergoldete Bronzen, Die Bronzearbeiten des Spätbarock und Klassizismus, Vol. I, München 1986, ill. 2.1.5, p.104. / In the mid-18th century, a playful taste prevailed in France: the 'Gout Nouveau', a style that sought to distinguish itself from the previous strictly symmetrical shapes of the Regency period. 'Gout Pittoresque' might even be a better descriptive caption of this very picturesque style. The innovative shift of this period was based on the very fact that the artists and designers were seeking to completely dispense with symmetry and straight lines. An important pioneering role in this development can be credited to the silversmith and ornamentist Juste Aure'le Meissonier (1695-1750), who dared to break with all previously known forms and to enter a new, abstract world. It was said about him in 1755: "Meissonier began to destroy all the straight lines, which until then were common in the traditional way; He turned and blew the friezes by all kinds; [...] It was he who put lovely contours in S-shape into this world." Given this context, it is not surprising that at the sight of our candlestick, we can hardly follow the shape of the structure: Is it like a build up of a whirlwind or is it impend to dissolve itself in front of us? Viewing the candlestick from any angle and we always gain another view. The artfully designed amorphous surface allows us again and again to experience new light reflections by Virtue of its various matte, smooth, chiseled and punched sections. The razor-sharp edges and profiles produce a sinuous play of light and shadow. This is how we imagine the Rococo period. Pair of finely chased ormolu candlesticks with twisted stems of swirling, asymmetrical Rococo form, the three-sided stems cast with three graceful putti, each of rather elongated and refined posture, sitting on large cartouches representing the coats of arms, the arts and architecture; flanked by scrolls, above eared circular bases finely chased with intricate shellwork. Sockets with straight sections and the detachable nozzles conforming with the eared circular base. The design is based on models by the important French silversmith Juste-Aurele Meissonier (Turin 1695–1750 Paris), Dessinateur du Cabinet du roi, as published by Huquier in 'Livre de Chandeliers de Sculpture en Argent', 1728, figures 73 to 75. See: Ottomeyer, H., Pröschel, P., Vergoldete Bronzen, Die Bronzearbeiten des Spätbarock und Klassizismus, Vol. I, München 1986, ill. 2.1.5, p.104.Read more

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Exzellente große Bouillotte-Lampe „à la Grèque“, Frankreich, Ende 19. Jh.

Große feuervergoldete Bronze-Bouillotte-Lampe "à la Grèque": der Lampenschaft, welcher auf einem tellerartigen Rundfuß mit ornamental durchbrochenem Rand ruht, ist verziert mit drei weiblichen, teils dunkelgrün patinierten Hermen griechisch-klassizistischen Stils, darüber befinden sich drei Leuchterarme in Form eines Füllhorns, welche die Kerzentüllen tragen. An der langen Mittelstange mit bekrönendem Adler, dem "Aigle Autrichien" der höhenverstellbare Schirm aus dunkelgrün bemaltem Metall. Das Motiv der um einen Leuchterschaft gruppierten klassizistischen weiblichen Hermen geht zurück auf Entwürfe Quentin-Claude Pitions (ca. 1725-1777), dem Hauptlieferanten des französischen Hofes für Bronzen, die er für Marie Antoinettes Cabinet de la Méridienne" lieferte. Ungewöhnlich große und in ihrer Gestaltung außergewöhnliche Bouillotte-Lampe. / Large 19th century ormolu Bouillotte lamp 'a` la greque', the shaft decorated with three femal busts ‘a` la greque‘ supporting cornucopiae-formed branches with foliate and nozzles. The shaft is partly patinated adding a beautiful contrast to the ormolu gilding. The whole is raised on a finely and intricately pierced gilt-bronze circular base. Original tole lamp shade adjustable in height and with its original green and gold painted surface decoration. The design of the ancient female Greek busts (and charming feet) derives from the designs of Quentin-Claude Pitoins, principal supplier of bronzes d’ameublement to the court (circa 1725-1777). He supplied those designs for the 'Cabinet de la Me´ridienne' built for Marie- Antoinette in Versailles in 1781. See: Ottomeyer/Pro¨schel, Vergoldete Bronzen, Munich 1986, Volume I, p. 151 and 286 f, fig. 4.15.1Read more

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Feiner Sekretär, Frankreich, attr. F.N. Geny/Lyon, ca. 1780

A Louis XVI drop-front secretaire (secrétaire à abattant), attributed to the menusier François-Noël Geny (1731-1804, maitre 1773) from Lyon. The writing cabinet veneered in kingwood and tulipwood on a ground of pine. The top of the secretaire is set with a slab of veined white marble, of rectangular form with canted front corners. Below a frieze drawer with marquetry simulating fluting. The fall front quarter-veneered with a central medallion depicting compass, globe, antique urn, quill and color palette - symbolizing art and science and a possible reference to a scholar patron. The hinged fall front inside lined with a beautiful patinated green leather and gives access to a single partition; a double partition; and a partition flanked by three drawers each. Very fine banding of colored woods frames the partitions. Below are cupboard doors giving access to a shelf. Raised on bracket feet with a small lower apron. Provenance: from a private collection in the South of France, attributed to François-Noël Geny (1731-1804, maitre 1773) from Lyon. Geny specialized in seated furniture, yet a secretaire almost identical in design, marquetry (even the lozenge banding) and dimensions, stamped Geny, has been described and pictured in: Bernard Deloche and Jean Yves Mornand: L'ébénisterie provinciale en France au XVIIIe siècle : Et Abraham Nicolas Couleru, Dijon 2011, p. 77.Read more

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Bedeutender Louis XVI-Stil Kronleuchter nach einem Modell von P. Thomire

A magnificient eight-light gilt bronze chandelier with a central shaft chased with festoons, flowers and foliate set off against a patinated dark background. Each branch is supported by a plinth decorated with a cherub mask supporting circular drip pans and nozzles. The arms of ‘S’ form are chased with twisted roping, acanthus leaves and volutes that enclose clusters of grapes. The chandelier terminates in a leave shaped finial. The central stem is surmounted by a gilt bronze cast drapery, extending up to the foliate cast ceiling rose, providing the lively and vigorous details of the chandelier with an essential elegance. This extraordinary chandelier was made after a model by Pierre Philippe Thomiere for the château de Saint-Cloud in 1787. The original wall mounts are currently exhibited at the collections of the Louvre (OA 5250), and the Petit Trianon. A further pair of identical appliqués attributed to Thomire are in the collection of the J.Paul Getty Museum, Los Angeles (83.DF.23) and a related pair in the Wallace Collection, London (F378-9). Peter Hughes in his catalogue entry for the appliqués at the Wallace collection notes that this model was reproduced by the firm of Beurdeley in the late nineteenth century. Given the superb quality of the bronze casting and chiselling, apparent in the present examples, they almost certainly can be attributed to Beurdeley. he Beurdeley family were a flourishing dynasty of three generations of fine quality cabinetmakers working from 1818 to 1895. The firm was particularly well known for its exceptional metalwork, most commonly basing their designs on important eighteenth century examples. Their mercurial gilding and hand chasing are often of such a high standard that it is difficult to distinguish them from late eighteenth century work. Literature: Hughes, Peter (1996), 'The Wallace Collection Catalogue of Furniture', London; Vol III; p. 1430-1432, ill. 301. Ottomeyer, Hans & Pröschel, Peter, (1986), 'Vergoldete Bronzen', Munich; Vol. I, p. 290, f. 4.16.15. Mestdagh, Camille & Lécoules, Peter (2010), 'L'Ameublement d'Art Français, 1850-1900', Editions de l'Amateur, Paris; p.262-276. Meyer, Jonathan, Great Exhibitions - London, New York, Paris, Philadelphia, 1851-1900, Antique Collectors' Club, (Woodbridge, UK) 1984 ; pps. 175, 247, 269, 270, 290, 298.Read more

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