Jakob Müller Antiquitäten

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Paar außergewöhnliche große Régence-Pilaster mit Komposit-Kapitellen

Paar außergewöhnliche Régence-Pilaster mit fein gearbeitetem Komposit-Kapitell, dessen über Eck gestellte Voluten zur rückwärtigen Wand vermitteln. Der Schaft ist flach und gerade gearbeitet und zeigt in einer glatten Rahmung eine geritzte Blatt-und-Schleifenband-Arabeske in zeittypischem, barocken Stil auf martelliertem Gessogrund. Die Pilaster zeigen eine wunderbare Vergoldung mit schöner Alterspatina. Die hier angebotenen, in Ihrer Größe (286 cm x 30/50 cm 5/17 cm) und exzellenten Erhaltung seltenen Pilaster sind ein schönes Beispiel der für das späte 17. und frühe 18. Jh. typischen Wandgliederung eines französischen Prunkraumes und zeigt zugleich sehr schön den Übergang vom Barock zum leichteren, verspielteren Rokoko. Die Vergoldung der Pilaster diente nicht nur der Prachtentfaltung, sondern trug auch durch seine reflektierende Oberfläche zur Aufhellung des entsprechenden Raumes bei. Provenienz: Französische Privatsammlung, Nîmes / Pair of Régence carved and giltwood pilaster, comprising a composite capital as it was known from Roman times. The corners are finished with scrolling volutes, the abacus carries egg and dart ornament above acanthus leaves, their tops curling forward. The pilasters as such are framed with the inner panel finely carved with the typical shallow relief manner of the Régence period. The low relief ornament includes ribbon tight acanthus leaves that are highlighted by its burnished gilding forming a contrast to the decorative 'toolwork' (zig zag pattern) that had been applied into the gesso prior to the gilding, forming the background. Such lavish, multi-layered decoration of this kind was typical of French interiors of the late 17th and early 18th centuries. Measures: The pilasters stand 286 cm tall, with a width of 50 cm (capital) and 30cm (pilaster) and depth of 17 cm (capitel) and 5cm (pilaster). Provenance: private collection Nîmes (France).Read more

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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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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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