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Apollo Art & Antiques

Apollo Art & Antiques Online antiques business based in Netherlands. We sell French antiques and works of art from the 18t

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Exquisite Pair of early Empire period candlesticks with Vestals. Rare pair of early Empire candlesticks in gilt and pati...
09/10/2022

Exquisite Pair of early Empire period candlesticks with Vestals.

Rare pair of early Empire candlesticks in gilt and patinated bronze, depicting two Vestals wearing a classical robe and carrying a fire in their hands. On their heads they carry a basket with a wicker pattern full of fruit and flowers, on top of a cushion with tassels. Crowning the baskets are the bobèches for carrying the candles. This important pair of early Empire ormolu and patinated bronze candlesticks has circular bases with an annular decorative pattern.

These candlesticks have been executed in an excellent quality chiseled bronze, partly mercury gilded and partly patinated.  They are in a perfect state of conservation.


France, circa 1805.

Height 28 cm, diameter of the base: 11 cm.


History of Vestals
One of temples on the Forum Romanum in Rome is the Temple of Vesta, the goddess of the hearth, the home and domestic life. The Vestal Virgins were the priestesses to this Roman goddess Vesta who was one of the most important gods to the Romans and she protected the city from any harm. In this temple a sacred fire was lit to honour Vesta. This fire was to be kept lit until the end of time, or else the Empire would fall.

It was the task of the Vestal Virgins to keep this fire lit forever. The college of the Vestals was regarded as fundamental to the continuance and security of Rome. The Vestals cultivated the sacred fire that was not allowed to go out. Vestals were freed of the usual social obligations to marry and bear children and took a 30-year vow of chastity in order to devote themselves to the study and correct observance of the rituals.

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Stunning Chariot Clock “ Au Char De L’amour ” Signed Cardinaux à Paris. Rare chariot mantel clock called “Au char de l’A...
27/09/2022

Stunning Chariot Clock “ Au Char De L’amour ” Signed Cardinaux à Paris.

Rare chariot mantel clock called “Au char de l’Amour”, dated circa 1830, based on the model of André-Antoine Ravrio (1759-1814). This ormolu mantel clock represents Eros driving a chariot drawn by two rearing horses. The gilt bronze sculptures of Eros, the horses and the chariot have been sculpted beautifully and lifelike. The clock has a skeleton movement with a blue enamel dial forming the wheel of the chariot. It has a blue decorated enamel with golden Roman numerals and gilt bronze hands for the hours and minutes.This dial carries the signature “Cardinaux à Paris”. Cardinaux is listed as clock maker in Tardy as being active as a clock maker in the Boulevard Poissonnière in Paris from 1800 until 1830.

The sculptures rest on a plinth in sea green marble with the attributes of Eros. On the left side of the plinth we see a torch with a flame. Next on the right side is a quiver with arrows and finally in the middle is a bow with two crossed arrows, wrapped with a ribbon. All of these are typical symbols of Eros. The arrows he shoots to make people fall in love and the fire that warms and ignites the heart.

Details
This chariot clock has been serviced by our clock maker and is in perfect working condition and comes complete with pendulum, bell and key.

Dimensions: 46.5 cm wide, 38 cm high and 14 cm deep.

Literature
- Pierre Kjellberg, “Encyclopédie de la pendule française”, p.417 -C
- Elke Niehüser, “French Bronze Clocks”, p.240 -910
- Tardy, Dictionnaire des horlogers français, p.111

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Magnificent Rare Empire period clock in the shape of a coat of arms. This superior and richly decorated gilt bronze Fren...
16/09/2022

Magnificent Rare Empire period clock in the shape of a coat of arms.

This superior and richly decorated gilt bronze French Empire clock signed Boicervoise has the shape of a coat of arms on a pedestal. It is surmounted by a winged eagle personifying Jupiter flanked by two griffins. Further, the case has applied decorations of a mascaron, foliage and flowers. Also, to the side of the case there are handles formed as pearl rings. The clock case rests on four legs with guilloche decoration.

In the center of the clock we see the clockwork, which carries the signature "Boicervoise à Paris". Tardy lists Boicervoise as a clock maker who was active during the Empire period in the rue de la Harpe in Paris. The clockwork has a white enamel dial with Roman numerals for the hours and Arabic numerals for the minutes and finely pierced gilt bronze hands.

This unique Empire clock presents itself with it’s original mercury gilding in an excellent state of preservation. The clock is in an exceptional and perfectly working condition. It comes complete with its pendulum, key and bell.

Paris, Empire period circa 1810.
Dimensions: height 42.5 cm, width 21 cm, depth 12.5 cm.

Literature
* Tardy, Dictionnaire des horlogers français, p.63

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Imposing Empire clock "Return of Odysseus" attributed to Pierre-Philippe Thomire (1751-1843). Exceedingly rare Empire cl...
26/08/2022

Imposing Empire clock "Return of Odysseus" attributed to Pierre-Philippe Thomire (1751-1843).

Exceedingly rare Empire clock in chased and gilded bronze, shows us a powerful and skilfully chiseled sculpture of the helmeted warrior Odysseus pushing a boulder. This scene depicts the imprisonment of Odysseus and his men in the cave of the Cyclops Polyphemus. He has locked them up by placing a large boulder in front of the entrance. This boulder is so big that it is impossible to move. By a ruse Odysseus and his men still manage to escape.

The clockwork is inscribed in this boulder and the white enamel dial carries the signature "Armingaud L'ainé a Paris". Tardy lists Armingaud as clock maker active from 1806-1813 in the Rue Meslay and the Boulevard de la Porte St-Martin in Paris.

An ornate plinth of sea green marble, resting on four claw feet, supports the above scene. In front it has a magnificently detailed bas-relief frieze illustrating an episode of the Odyssey. It represents Odysseus, dressed like an old beggar after his return home, having his feet washed by his most faithful servant Eurycleia. She was the only person to recognize him after he returned home from the Trojan War. After he entered his own house disguised as a beggar, Eurycleia bathed him and recognized him by a scar just above his knee, which he got from a boar while boar hunting. Gripping her by the throat, Odysseus stopped her from telling his wife Penelope or anyone else in the house of his true identity.

Paris, Empire period circa 1806.

Dimensions: height 43 cm, width 33 cm, depth 13 cm.

Literature
* Tardy, Dictionnaire des horlogers français, p.13

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Monumental Empire clock “Allegory Of Study” attributed to Pierre-victor Ledure (1783-1870).This Empire clock about the a...
18/08/2022

Monumental Empire clock “Allegory Of Study” attributed to Pierre-victor Ledure (1783-1870).

This Empire clock about the allegory of study, attributed to Pierre-Victor Ledure (1783-1870), shows the personification of Study or Science. She wears a dress in the antique tradition and leans against a pile of books holding a scroll in her hand. On the spines of these books we can read the inscriptions “ASTRO/TOM.1” and “PHYSIQ/TOM.3”. Also, the rooster and torches are symbols of the intellectual and physical alertness which are important prerequisites of studying and science.

The enameled dial of the clockwork carries the signature “Le Roy horloger du Roi / à Paris”.

Pierre-Victor Ledure (1783-1870)
Ledure, born in Paris in 1783, was the son of Laurent Ledure and Marie-Marguérite née Lainé who died when he was only five in 1788, shortly before the French Revolution. Ledure was apprentice under the renowned bronzier, André-Antoine Ravrio (1759-1814). He received many important commissions during the Empire period, enjoying the patronage from a wealthy international clientele. Today one can find examples of his work in many important private and public collections including the Museo de Reloges at Jerez de la Frontera, the Palais Vienna in Madrid, the Royal Pavilion at Brighton and also the British Embassy in Paris.

France ca. 1815
Dimensions: 55 cm high, 34 cm wide and 13 cm deep.

Literature
H. Ottomeyer, P. Proschel et al., ” Vergoldete Bronzen – Die Bronzearbeiten des Spätbarock und Klassizismus“, Munich, 1986, Vol. I, p.349, fig. 5.6.8.
Elke Niehüser, “French Bronze Clocks”, 1997, p.76-77.
Tardy, Dictionnaire des horlogers français, p. 406-407.
Collection of the Mobilier National, inv. number GML-3974-000.
Collection of Rijksmuseum Amsterdam, object number BK-1997-16. 

🔴Reserved🔴

Remarkable Pair Of French Empire Period Candlesticks With Griffins. This wonderful pair of large French Empire period ca...
07/08/2022

Remarkable Pair Of French Empire Period Candlesticks With Griffins.

This wonderful pair of large French Empire period candlesticks with a decor of griffins, presents itself in its beautiful original mercury gilding. The chiseled round base shows a rich ornamentation of griffins, framed by curved lines. They are set amidst further decorations of water leaves, stars and floral patterns.  Further, the fluted stem is carried by a vase which transitions into delicate patterns of water leaves and floral patterns. On the top, the stem is crowned by a candle holder, also decorated with floral patterns and topped by a bobeche with radial patterns.
 
These French Empire candlesticks have been executed in an excellent quality chiseled and gilt bronze with mat and shiny gilding. They are in an exceptional state of conservation.
 
Dimensions
Height 30 cm, diameter 13.5 cm.

Mythology Of Griffins
The griffin is a beast with an eagle’s head and lion’s body. It is an imaginary mythical creature with the body, tail, and back legs of a lion. Further it had the head and wings of an eagle, and sometimes an eagle’s talons as its front feet. Because the lion was traditionally considered the king of the beasts, and the eagle the king of the birds, the griffin was thought to be an especially powerful and majestic creature. Since classical antiquity, griffins were known for guarding treasures and priceless possessions such as gold. In ancient art, the griffin symbol is often shown as the guardian of the gold. Griffins were believed to be sacred to the sun and also they were sacred to Apollo.

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Apollo Art & Antiques: passion for French Antiques

Online antiques business based in Netherlands. We sell French antiques and works of art from the 19th century : Bronze Sculptures and Statues, Empire Clocks, French Mantel Clocks and Chariot Clocks, French Candelabra & Candlesticks and Decorative Arts.

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Exceptionally Rare Pair Of Empire Period Candelabra With Winged Victories.

Superb and truly decorative pair of gilded bronze Empire period candelabra with winged Victories. These Victories support an arched and plantlike rod. On top of this arched rod we see a laurel wreath decorated with a ribbon. Further, the laurel wreath has a palmette in its center, and decorations of flowers and wheat on both sides. Both candelabra carry three lights, each of them with intricate floral decorations. Finally, these candelabra have a cylindrical barrel, intricately detailed, standing on a square base.

During the Empire period, the Victory figure became an integral element within Empire design. Especially through the intervention of Charles Percier (1764-1838) and Pierre François Léonard Fontaine (1762-1853), Napoleon’s most important architects and designers. The designs of Charles Percier were successfully exploited by Pierre-Philippe Thomire (1751-1843) as well as his contemporary Claude Galle (1759-1815). The intricate design of this lustrous pair of Empire candelabra reminds us of the works of top bronzier Pierre Philippe Thomire.

This pair of Empire candelabra is highly decorative and is in a very good condition.

LITERATURE
* H. Ottomeyer, P. Proschel et al., ” Vergoldete Bronzen – Die Bronzearbeiten des Spätbarock und Klassizismus“, Munich, 1986, Vol. I, p. 329, fig. 5.2.3.
* Sotheby’s New York, 22 October 2014, where a pair of this model appeared in auction.

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Unique Mythological Directory Period Clock “ H**e Cup Bearer ”.

Museum quality French Directory period clock in mercury gilded and patinated bronze. This refined late 18th century mythological clock “H**e cup bearer” dates from the Directory period 1795-1799. It represents a very beautiful mythological theme of H**e, goddess of youth. She is offering a cup to Jupiter, transformed into an eagle. This mythological clock “H**e cup bearer” is made of mercury gilt and patinated bronze with mat and glossy gilding and dark brown patina of excellent quality. Also the sculpture of H**e shows the exquisite quality of chiseling of this clock in details like the hair and the clothes.

H**e sits on the clockwork case which contains a large movement surrounded by an exquisitely chiseled lunette. The clockwork has a large white enamel dial, with a blue star in the middle and Directory period gilt bronze hands ending in a flower of lily. Further, the dial carries the signature Jacquot à Paris. The Tardy dictionary of French clock makers lists this clock maker as being active in Paris as a clock maker from circa 1790.

The base presents exquisite decorations with mythological symbols. For instance on the front we see a depiction of H**e on either side of the clock case. In the middle is Jupiter in the guise of an eagle and beside him two zigzag arrows, typical attributes of Jupiter. On the lower part of the case is a bass relief depicting a festive scene with putti.

This wonderful clock is in an exceptional and perfectly working condition. Also, it has been cleaned and serviced by a professional clock maker. It comes complete with its pendulum, key and bell.

Dimensions: 48 cm high, 36 cm wide and 13 cm deep.

Literature
Dictionnaire des horlogers français, Tardy, p.322

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Refined Pair Of Gilt And Patinated Bronze Empire/Restauration Candlesticks with decorations of vine leaves and grapes.

These antique candlesticks have a fluted barrel on a round base.  Everywhere we see nicely carved decorations of vine leaves and grapes. They are symbols of abundance, prosperity and fertility. In Greek mythology the god of the wine Dionysus, known as Bacchus in the Roman tradition, was also symbolized by vine leaves and grapes.

This pair of French candlesticks has been executed in gilded bronze with a mat and shiny gilding. The contrast between the dark patina and the gilded parts is particularly harmonious. They are in a good condition.

Details
Dimensions: 27 cm high, diameter 11.5 cm.

Literature
A similar pair is in the collection of the Mobilier National (inventory number GML-557-001).

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Large pair of Louis XVI style candelabra after a model by Claude-Michel Clodion.

This pair of superbly carved gilt bronze three-light Louis XVI style candelabra, resting on a cylindrical fluted base in red marble, after a model by Clodion. They represent the allegory of Vice ad Virtue. The candelabra, set on marble and gilt-bronze bases surrounded by a row of beads and a wreath, consist of two gilt bronze statuettes. One modeled as a young bacchante, the other as a youthful satyr, each supporting a pair of vine branches, both  leaning against a tree stump.  Each of the figures bears three candle-arms, formed of branches enhanced with berried leaves, ending in nozzles and drip-pans decorated with laurel leaves. Both statuettes are raised on a fluted column with leaf-cast wreath and gilt bronze base.

The original drawings and sculptures were created  by Clodion (1738-1814) for the satyr and Louis Félix de la Rue (1730-1777) for the bacchante, possibly as early as the 1770s.  It was a very successful and popular model which continued to be produced into the 19th century. One pair is in the Musée du Louvre.

This pair of Louis XVI style candelabra dates from the middle of the 19th century and is in a perfect state of conservation with magnificent gilded bronzes.

Dimensions
Height: 51 cm.
Size of the base: 17 x 17 cm.

Literature
* D. Alcouffe, A. Dion-Tennenbaum, G. Mabille, "Gilt Bronzes in the Louvre", Faton, Dijon, 2004, p. 107, no. 48

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Important late Louis XVI, Directory period mantel Clock “Toilette Of Venus” Signed by Claude Galle & Jean-Simon Bourdier.

The clock depicts the scene of the “Toilette of Venus” where Venus is getting dressed for the day with the assistance of a putto. It shows us Venus in a very suggestive pose and Eros who looks up to her. The figure is very graceful and of such high quality, that it is customarily attributed to the most famous sculptor of the 18th century, Maurice Etienne Falconet (1716-1791). Venus is barefoot, her hair and cloth are in the antique style, and she has a rose in her hair as a sign of love. Eros stands on a pile of rocks, his bow lying at his feet. 

Claude Galle (1759 – 1815)
He is regarded as one of the best bronziers of the late Louis XVI and Empire periods. He became master bronze caster in 1786. After the death of his father-in-law in 1788 Galle took over his workshop. Galle obtained many commissions of the Royal family (Garde-Meuble de la Couronne) from 1786-1788. He worked with with masters like Pierre-Philippe Thomire, and furnished the majority of the furnishing bronzes for the Château de Fontainebleau during the Empire.

Jean-Simon Bourdier (1760-1839)
The esteemed Parisian clockmaker and Horloger-Mécanicien, Jean-Simon Bourdier made the movement. He became a maître-horloger in 1787 establishing himself at Quai de l’Horloge until about 1806 when he moved to Rue Mazarine.  His clocks were housed in the finest and most elaborate cases suitable to furnish a number of royal palaces.


Literature
- French Bronze Clocks, Elke Niehüser, p.106-107, p.211 #311
- H. Ottomeyer, P. Proschel et al., ” Vergoldete Bronzen – Die Bronzearbeiten des Spätbarock und Klassizismus“, Munich, 1986, Vol. I, p.245, fig. 4.6.5
- Dictionnaire des horlogers français, Tardy, p.74

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Exceptional Rare Pair Of Late Louis XVI 18th Century Candelabra “Aux Femmes” After Model By Falconet.

Superior pair of late Louis XVI marble and gilt bronze candelabra in the shape of women rests on a fluted Carrara white marble base adorned with a frieze of pearls and a tied-laurel wreath. Each of the draped females supports a bouquet with branches of lilies issuing three lights with floral bobèches.

This model of candelabra, with women clad in the ‘Antique’ manner supporting branches, became immensely popular at the end of the 18th century and exists in many variants, both with paired and single women and in many different poses. The basic design of the draped nymph on these candelabra recalls the 1761 sketch executed by Gabriel de Saint Aubin (H. Ottomeyer, P. Pröschel, Vergoldete Bronzen, Munich, 1986, vol. I, p. 254, fig 4.7.1). The sketch depicts two pairs of plaster models of figures supporting candelabra which were exhibited at the Salon du Louvre in 1761 by Etienne-Maurice Falconet (1716-1791), director of the sculpture studio at Sèvres from 1759 to 1766.

The pair of candelabra is in an exceptional condition.


Dimensions: 60 cm high, 25 cm wide, 12 cm deep. 

Literature
H. Ottomeyer, P. Proschel et al., ” Vergoldete Bronzen – Die Bronzearbeiten des Spätbarock und Klassizismus“, Munich, 1986, Vol. I,  p.254 fig. 4.7.1
Christie’s London, 21 April 2005

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