Jakob Müller Antiquitäten
Objects "Jakob Müller Antiquitäten"
An elegant and very rare marquetry encoignure with a bowed front and one panel door decorated with a japanned panel of mountains and trees within a very fine marquetry of mixed exotic woods such as satinwood, tulipwood and olive wood, depicting a ribbon frame, tassels and shaded neoclassical columns with capitels. The top is centered by an oval shaped fan ornament. Corpus is rested on square tapering legs.Read more
A small and delicate crystal chandelier with Murano glass drops. The circular top corona and central tier finely embellished with a Greek cyma in a nice original patina, both richly hang with facetted drops and tear drops, the lower body consisting of seven rows of tear drops, the drops alternating with clear and matte finish, with a lower hang central ring, with altogether four interior lights. A beautiful and graceful item that can easily enrich a small room with its charm. Fitted for electricity.Read more
A pair of gilt bronze candlesticks inscribed 'Thiebaut Freres. Fumiere & C S Paris'. Thiébaut Frères was a Parisian foundry of the late 19th century devoted to works of art. The pair of gilt-bronze candle sticks in Louis XVI style, the candle nozzle cast with festoons and foliage, above baluster stems in the shape of a quiver on gadrooned circular bases.Read more
With a rectangular grey fossil marble top above two mirror paneled doors and two drawers, flanked by Egyptian terms figures, above a folded leather lined writing surface and a frieze drawer, raised on square legs, joined by an incurved stretcher. The whole mounted with finely chased ormolu casts depicting winged figures, ribbons and foliage.Read more
A gilt bronze-mounted kingwood and amaranth transition period commode with a moulded brèche d'alep marble top above three long drawers, each veneered à quatre faces and inlaid with geometric strapwork, with canted corners applied with gilt bronze mounts, with a shaped apron mounted with gilt bronze urn and acanthus leaves, on cabriole legs with gilt bronze sabots. Each drawer covered inside with rose colored fabric.Read more
A giltwood carved console table with a faux mottled rouge marble top of serpentine form, above a pierced frieze boldly carved with a central shell within C-scrolls, acanthus leaves, rocaille and flowers. Raised on cabriole front-legs joined by a pierced C-scroll stretcher depicting flowers and foliate. Burnished water-gilded areas contrasting with matte finishing, in some areas the gold leaf has worn through to expose the reddish brown "bole" or gilder's clay. Some refreshed gilding, overall beautifully warm patina of a gilded surface.Read more
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
Exceptional set of four dark red varnished side chairs decorated with a gilded frieze scene. The wide curving back with frieze decoration and the raked and canted front and back sabre legs based on the ancient Greek klismos, known from Greek Classical vases and carved stone reliefs. The decorative scene on the back depicting two winged serpents centered by a laurel wreath. The meaning of the scene can be connected to the surface varnish decoration of the chairs. It is been assumed that the varnish resin used is the so called ‘dragon's blood’, a resin of a dark red varnish quite commonly used by 18th century Italian violinmakers and cabinetmakers. The laurel wreath symbolizing Apollo who slew the dragonlike serpent of the oracle in Delphi - the subtile indication of the material used in the narrative of the decoration adds to the charm of the design and represents the level of sophisticated craftsmanship in 18th century Italy.Read more
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
The rectangular overhanging top above a frieze mounted with a gilt bronze flower head and stylized foliage, on four column supports, joined by three tiers with a mirrored back wall (retaining it's original mercury mirror plate), on a breakfront rectangular base with a deep drawer and two handles. The etagere is in pristine condition displaying a beautiful mahogany grained veneer with finely chiseled gilt bronze mounts.Read more
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
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
This painting shows an opulent bouquet of various summer flowers arranged in an earthenware vase on a table. The painter depicted roses, mimosas, ires, dahlias, lilacs and others, some in full blossom, some fading. The rich combination of textures and tones contrasts with the plain dark background, it draws upon the Netherlandish tradition of still-life, which came to a climax in the 17th century. The decorative display of flowers does not appear to carry any specific symbolism, the fading flowers may represent a vanitas (memento mori) aspect, reminders of human mortality and invitations to meditate upon the passage of time. The painting has been signed with initials F.P. (?) on the bottom right. Painting dimensions: 85 cm x 70 cm.Read more
Bouillotte lamp with adjustable green and gold painted tole shade and two gilt-bronze arms in the shape of cornocopia, raised on a pierced gilt-bronze circular base. In perfect working condition.Read more
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