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Francois Girardon Auction Price Results

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After François Girardon (French 1628-1715), Pluto Abducting Proserpine, Bronze sculpture, H: 37-3/4 in

Lot 244: After François Girardon (French 1628-1715), Pluto Abducting Proserpine, Bronze sculpture, H: 37-3/4 in

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Description: After François Girardon (French 1628-1715) Pluto Abducting Proserpine Inscribed on side of base GIRARDON MDCCLXXX Bronze sculpture with dark-brown patina Height: 37-3/4 in (95.9 cm)Property from a Virginia Collection

Condition Report: Weschler's provides written condition reports, upon request, for any lot in our auctions. Such a condition report is provided as a courtesy to our clients and should in no instance replace first hand inspection by a prospective buyer or his/her agent. All property is sold "as is" in accordance with the terms set forth in paragraph 3 of Conditions of Sale. Neither Weschler's nor the consignor makes any express or implied warranty or representation as to the condition of any lot offered for sale, and no statement made at any time, whether oral or written, shall constitute such a warranty or representation.

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EQUESTRIAN STATUE OF LOUIS XIV,after a model by F.

Lot 1272: EQUESTRIAN STATUE OF LOUIS XIV,after a model by F.

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Description: EQUESTRIAN STATUE OF LOUIS XIV,after a model by F. GIRARDON (Francois Girardon, 1628-1715), France, 19th century.Burnished bronze on ebonized wooden plinth. With a signature GIRARDON. H 46 cm.REITERSTANDBILD VON LOUIS XIV, nach einem Modell von F. GIRARDON (François Girardon, 1628-1715), Frankreich, 19. Jh.Brünierte Bronze. Auf Hengst reitender König Louis XIV in feiner Rüstung. Auf rechteckigem, profiliertem und ebonisiertem Holzsockel. Mit einer Signatur GIRARDON. H 46 cm.Provenienz: Privatbesitz, Schweiz.F. Girardon, Sohn eines Giessers, starb am Todestag von König Louis XIV; die Verherrlichung dieses Herrschers galt als bester Teil von Girardons Kunst. 1699 schuf er sein Meisterwerk, die 1792 zerstörte Reiterstatue von Louis XIV, welche auf der Place Louis-Le-Grand stand (heute Place de la Vendôme).Ende 1684 traf eine bei Bernini bestellte Reiterstatue von Louis XIV in Paris ein, die das Missfallen des Königs so stark erregte, dass er Girardon beauftragte, die Statue durch Ersetzen des Kopfes in einen sich dem Flammentod weihenden Marcur Curtius umzuwandeln. (Diese Reiterstatue hat als einzige die Revolution überdauert und steht noch heute am Ende der 'Pièce d'Eau des Suisses' in Versailles). Gleichzeitig erhielt Girardon den Auftrag, einen Ersatz anzufertigen. Ab Dezember 1685 beschäftigte er sich mit dem Modell zu diesem Werk, das an Umfang und Bedeutung alles übertreffen sollte, was jemals in Frankreich in Bronzeguss geleistet worden war. Am 31. Dezember 1692 erfolgte der Guss durch den berühmten Schweizer Balthazar Keller, der in der Geschichte des Bronzegusses insofern von epochaler Bedeutung ist, als dass es hier zum ersten Mal gelang, Ross und Reiter aus einer einzigen Gussform zu schaffen, während alle früheren Reiterbilder aus mehreren Stücken zusammengesetzt worden waren. Am 13.8.1699 wurde das Denkmal unter feierlichem Pomp enthüllt, das - soweit man nach den Stichen und erhaltenen Bronzereduktionen urteilen kann - die monumentalste Verkörperung des Sonnenkönigs darstellte. Von diesem existieren verschiedene kleinere Bronzerepliken, davon befinden sich einige im Louvre, im Museum zu Braunschweig und in der Sammlung Arnhold in Berlin.Lit.: E. Bourgeois, Ludwig XIV - Der Sonnenkönig oder das grosse Jahrhundert Frankreichs, Leipzig 1897; S.55 (mit Abb. der identischen Bronze aus dem Musée du Louvre).

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AFTER GASPARD MARSY (1624-81) AND ANSELME FLAMEN (1647-1717),
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Lot 10: GIRARDON, Francois (after) (1628-1715, French)

Description: La Venus d'Arles, brown pat.bronze Sculpture (?x23x)?in.

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LE SUPPLICE DE MARSYAS Attribué à François GIRARDON (1628-1715) - France...

Lot 19: LE SUPPLICE DE MARSYAS Attribué à François GIRARDON (1628-1715) - France...

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Description: LE SUPPLICE DE MARSYAS Attribué à François GIRARDON (1628-1715) France, époque Louis XIV, fin du XVIIe siècle /début du XVIIIe siècle MATÉRIAUX Bronze patiné brun nuancé H. 60 cm, L. 15,5 cm, P. 14 cm Ce sujet en bronze patiné illustre l'épisode mythologique du supplice du silène Marsyas, qui osa défier le dieu Apollon dans un concours musical. Vaincu, il fut alors condamné à être écorché vif, suspendu à un pin afin de subir le terrible châtiment. Il s'agit ici d'une version réduite d'un modèle original en terre cuite de François Girardon (1628-1715) réalisé d'après les répliques romaines en marbre du Ier ou du IIe siècle après J.-C., exécutées elles-mêmes d'après un original grec en bronze de la fin du IIIe siècle avant J.-C aujourd'hui disparu. Les deux répliques romaines connues firent partie des deux plus grandes collections italiennes de la Renaissance, l'un appartint aux Borghèse à Rome (acquise par Napoléon en 1807, Musée du Louvre, inv. Ma 542-MR267), la seconde est conservée à la Galleria degli Uffizi, à Florence et figurait sur l'inventaire général de la Villa Médicis à Rome, dressé en 1670. C'est probablement cet exemplaire que vit François Girardon lors de son séjour dans la Ville Eternelle vers 1647-1650 et qui l'influença dans son OEuvre. À la fin de sa vie, dans le but de préserver la mémoire de sa collection, Girardon, qui fut lui-même un grand collectionneur de sculptures antiques et modernes, fit graver par Nicolas Chevallier (1661-1720) une suite de dessins de ses oeuvres, présentes dans ses ateliers du Louvre, dessins qu'il demanda à René Charpentier (1680-1723), et qu'il fit placer dans des architectures fictives imaginées pour lui par l'architecte et ornemaniste Gilles-Marie Oppenord (1672-1742). L'ensemble de cette anthologie fut intitulé Galerie de Girardon. Composé de treize planches dotées d'une échelle de 3 pieds permettant ainsi de mesurer approximativement la taille des oeuvres, ce remarquable florilège constitue aujourd'hui un document inestimable d'analyse de l'OEuvre de celui qui fut l'un des plus grands sculpteurs du règne de Louis XIV. La terre cuite du Marsyas figure sur la planche IV de la Galerie de Girardon : « Veüe d'un des Cotéz de la Gallerie du Sr. Girardon Sculpteur ordinaire du Roi » (fig. 1). Elle ne laisse aucun doute quant au modèle de notre bronze. Après la mort du sculpteur, cette oeuvre fit partie de la collection de Pierre-Jean Mariette, secrétaire du Roi et contrôleur général de la Grande Chancellerie de France, et fut vendue à Paris le 15 novembre 1775, dans sa vente après décès sous le lot n° 26 : « La Figure de Marsias suspendue par les deux mains à un tronc d'arbre, faite avec beaucoup de soin d'après l'antique, par Girardon ». Elle fut acquise 154 livres par un dénommé Pigache, et figura avec la même mention sous le n° 403 du catalogue de vente de la collection de ce dernier, qui se tint à Paris le 21 octobre 1776. François Girardon fut l'un des plus éminents sculpteurs sous le règne de Louis XIV. Il participa à de nombreux décors célèbres des jardins de Versailles, comme le groupe d'Apollon servi par les nymphes, le bassin de Saturne, la statue de l'Hiver, étonnant vieillard transi de froid avec un poêle à ses pieds, et surtout le fameux groupe de l'Enlèvement de Proserpine. Girardon exécuta son dernier grand chef-d'oeuvre à Paris avec la statue équestre en bronze de Louis XIV, dressée place Louis-le-Grand. Conçue à l'échelle de la place, actuelle place Vendôme, elle influencera toutes les statues équestres en France et en Europe. Un exemplaire en bronze de même dimension que le nôtre est mentionné dans la vente après décès de Louis-François Crozat (1691-1750) le 14 décembre 1750 sous le n° 45 du catalogue : « Marsias attaché par les bras à un tronc d'arbre très-bien réparé d'après l'antique » de 23 pouces de haut (soit environ 60 centimètre de hauteur) ». Ce bronze fut acheté alors par son frère cadet, Joseph-Antoine Crozat (1696-1751), marquis de Tugny, président au parlement de Paris, qui le plaça en son hôtel de Tugny, sis place Louis-le-Grand, actuelle place Vendôme, à Paris. Le président de Tugny décéda dès l'année suivante, et le Marsyas fut en conséquence revendu au cours du mois de juin 1751, sous le lot n° 44 du catalogue: « Marsias attaché par les bras à un tronc d'arbre, Bronze d'après l'Antique. La Figure a 23 pouces de haut ». Sa trace disparaît alors. Deux autres exemplaires provenant d'illustres collections privées, attestant par la même la grande qualité du sujet, sont apparus récemment sur le marché de l'art. RÉFÉRENCES BIBLIOGRAPHIQUES François Souchal, La Collection du Sculpteur Girardon d'après son inventaire après décès, Gazette des Beaux-arts, LXXXII, 1973, p. 51-52 François Souchal, French Sculptors of the 17th and 18th centuries, The reign of Louis XIV, G-L, éd. Cassirer, London, 1981, p. 80, fig. 119 Francis Haskell et Nicholas Penny, Taste and the Antique, New Haven and London, 1981, p. 262, cat. n° 59, fig. 136

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Lot 21: A BRONZE EQUESTRIAN STATUE OF LOUIS XIV after Francis Girardon, the king shown dressed after the Antique, his right arm raised, seated on a

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Description: prancing horse whose hind leg tramples underfoot a sword and acanthus cast pelta centred by a Medusa's head, on a rectangular chamfered plinth inscribed "Girardon," the brass-inlaid ebony pedestal mounted with gilt-bronze, the stepped top above an egg-and-dart and entrelac moulded plain frieze, the hinged door and reverse inlaid in "contre-partie" with foliate arabesques and centred by a nymph emblematic of Time, seated on a satyr-mask plinth flanked by acanthus scrolls terminated by rams' heads, enclosing a plain interior, the sides mounted with further satyr-masks, above a waved rectangular plinth, 19th Century The bronze 43 in. (109.5 cm.) high; 39 in. (99 cm.) wide The pedestal 29 1/4 in. (74 cm.) wide; 43 1/2 in. (110.5 cm.) high 86 1/2 in. (220 cm.) high, overall PROVENANCE: Sir Philip Sassoon, Bt., 25 Park Lane, W.1., recorded on the Balcony in the pre-1927 inventory and in 1939 This is a reduction of Francois Girardon's (1628-1715) equestrian portrait of Louis XIV, cast by J.-B. Keller, erected in the place Louis-le-Grand, Paris, on 13 August 1699 (M. Martin, "Les Monuments Equestres de Louis XIV," Paris, 1986, pp. 92-117) A further example, bearing the "C couronne poincon" tax mark for 1745-9, was acquired for George, Prince of Wales, later George IV, in Paris in 1817 at the cost of £360 ('Treasures from the Royal Collection', "Exhibition Catalogue," London, 1988, no. 90, pp. 94-5) The popularity of this model resulted in several 19th Century reductions by such Parisian "bronziers" as Beurdeleys and Henri Dasson.

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                                        FIGURE EN BRONZE REPRESENTANT MARSYAS

Lot 43: FIGURE EN BRONZE REPRESENTANT MARSYAS

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Description: FIGURE EN BRONZE REPRESENTANT MARSYAS D'APRES L'ANTIQUE, ENTOURAGE DE FRANCOIS GIRARDON (1628-1715), FRANCE, VERS 1760Patine brun foncé à rehauts brun clair; reposant sur une base entièrement sculptée de forme rectangulaire et de style naturalisteHauteur: 59 cm. (23¼ in.)

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                                        PAIRE DE MEDAILLONS EN BOIS SCULPTE REPRESENTANT LA VIERGE EN  MATER DOLOROSA  ET LE CHRIST EN  ECCE HOMO

Lot 57: PAIRE DE MEDAILLONS EN BOIS SCULPTE REPRESENTANT LA VIERGE EN MATER DOLOROSA ET LE CHRIST EN ECCE HOMO

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Description: PAIRE DE MEDAILLONS EN BOIS SCULPTE REPRESENTANT LA VIERGE EN MATER DOLOROSA ET LE CHRIST EN ECCE HOMOD'APRES UN MODELE DE FRANCOIS GIRARDON (1628-1715), FRANCE, VERS 1700 Enchâssés dans un cadre en bois sculpté et doré Hauteur: 88 cm. (34½ in.); Hauteur totale: 107 cm. (42¼ in.) (2)

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After Francois Girardon (French 1628-1715): An early 18th century carved white marble relief portrait of Louis XIV

Lot 64: After Francois Girardon (French 1628-1715): An early 18th century carved white marble relief portrait of Louis XIV

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Description: of oval form, the king facing to the righ and wearing a full wig, a lace bow tied around his neck, 36cm high

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AFTER FRANÇOIS GIRARDON (1628-1715), FRENCH, CIRCA 1800

Lot 69: AFTER FRANÇOIS GIRARDON (1628-1715), FRENCH, CIRCA 1800

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Description: PROPERTY FROM A PRIVATE COLLECTION PLUTO ABDUCTING PROSERPINA bronze 59.5cm., 23 3/8 in.

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Lot 70: GIRARDON, FRANcOIS (ATELIER) (1628-1715)

Description: Cheval au pas, inspire drawing Charles Le Brun, 1685-1700c. Bronze 32x24 inches (80x62 cm).

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A PAIR OF CIRCULAR CARVED MARBLE RELIEFS OF CHRIST AND THE VIRGIN

Lot 112: A PAIR OF CIRCULAR CARVED MARBLE RELIEFS OF CHRIST AND THE VIRGIN

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Description: A PAIR OF CIRCULAR CARVED MARBLE RELIEFS OF CHRIST AND THE VIRGINCIRCLE OF FRANCOIS GIRARDON (1628-1715), EARLY 18TH CENTURY Each in an elaborate circular giltwood frame decorated with a laurel wreath; minor wear to frames13 3/8 in. (34 cm.) diam.; 17½ in. (44.5 cm.) diam. overall (2)

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Lot 136: A LOUIS XIV ORMOLU-MOUNTED AND BRASS-INLAID BROWN TORTOISESHELL

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Description: AND EBONY CARTONNIER ATTRIBUTED TO ANDRE-CHARLES BOULLE Inlaid overall en premiere and contre-partie with foliate arabesques, the circular glazed dial with both Roman and Arabic enamel cabochons within a foliate and rockwork chased frame with central Berainesque medallion of a lambrequined baldequino, the entrelac and rosette moulded bezel set within a shaped door with chandelle-fluted arched pediment surmounted by a winged-putto carrying a scythe, the sides inlaid with foliate arabesques above acorn-swagged satyr-masks to one side and laurel-swagged weeping satyrs to the other, the domed spreading plinth mounted with the winged figure of "Father Time" carrying scales, the husk-trailed foliate spreading collar above an egg and dart frieze and brass-inlaid ebony plinth, the cartonnier with pigeon-holes flanked by voluted sides with arabesque inlay and above a gadrooned collar and panelled frieze, the central door mounted with a vine-leaf garlanded satyr-mask with lambrequined headress, supported by a pierced spreading floral-trellis pedestal and within a foliate-trailed panel, flanked by four contre-partie drawers with cockerel-headed imbricated pelta escutcheons, the sides with foliate-moulded arabesque panels above a voluted base with acorn satyr-mask mounts, the movement signed "Gaudron A Paris" and inscribed "11.20", the four drawers indistictly stamped with the C couronne poincon, stamped once "DELORME" for Adrien Delorme, who almost certainly brought the clock and cartonnier together and made the brass-inlaid ebony base for the clock and the middle section of pigeon-holes 37 in. (94 cm.) wide; 56 1/4 in. (143 cm.) high PROVENANCE Almost certainly acquired by Thomas, 2nd Earl de Grey (1781-1859) of Newby Hall, Yorkshire and Wrest Park, Bedfordshire. By descent to his daughter, Mary, wife of Henry Vyner at Newby. Thence by descent LITERATURE C.Hussey, Newby Hall, Yorkshire-II, "Country Life", LXXXI, 19 June, p. 690, fig. 4. Andre-Charles Boulle, appointed ebeniste du Roi in 1672. The stamp DELORME is almost certainly that of the marchand-ebeniste Adrien Delorme, maitre in 1748, of the rue du Temple, although it is his brother Jean-Louis Faizelot-Delorme, maitre in 1763, who is known to have specialised in the restoration of Boulle furniture. The C couronne poincon was a tax mark employed on any alloy containing copper between March 1745 and February 1749. "L'AMOUR VAINQUER DU TEMPS" The allegory of "L'Amour vainquer du Temps" derives from the now-lost fresco by Pordenone in the Palazzo d'Anna, Venice, which was recorded in a woodcut by Nicolo Vicentino (active 1510-1550) and subsequently reprinted by Andrea Andreanni in 1608. However, as Boulle's design, now in the Musee des Arts Decoratifs, Paris reveals, the original woodcut depicting Love seizing the scales from the recumbent Time was altered slightly by having Love fly off with Time's scythe (P. Hughes, Clocks and Barometers in the Wallace Collection, London, 1994, p. 30.) Listed as "Quatre figures de temps de ronde bosse pour des pendules dont deux sont reparees et deux sortant de la fonte 300" in the 1715 acte de delaisement of Andre-Charles Boulle to his children, the model for "L'Amour vainquer du Temps" was executed by the sculptor Francois Girardon (1620-1715) (J-P. Samoyault, Andre-Charles Boulle et sa famille, Paris, 1979, p. 72). This authorship is testified by the inventory drawn up on the death of the ebeniste in 1732, when the model was further recorded as: "Une boite contenant les modeles de la pendule de Mr. Desmarais dont le temps couche est de Mr. Girardon". This model was, therefore commissioned from Boulle by Nicolas Desmarets before 1711. In the inventory of the Cabinet of Louis XIV's Minister in 1721, the clock is described as: "Une pendule dans sa boete ronde d'ecaille et cuivre d're d'or moulu, pose sur son pied de pareille ecaille et cuivre servant a mettre des papiers 800 livres". Desmarets de Maillebois therefore possessed a clock of this model which, in 1721, was already placed on a freestanding cartonnier unattached to a bureau plat. Moreover, Nicolas Desmarets is also known to have been a client of Gaudron (European Clocks in the J. Paul Getty Museum, Malibu, p. 175). Desmarets' collection was inherited by his children and part of the furnishings were bought back by the family in the sale following the inventory. This model by Boulle enjoyed considerable success and was adapted by him for a cartel, standing on a bracket mounted with cockerels and Zephyrs emblematic of the Winds. Furthermore, clocks corresponding to the design attributed to Boulle in the Musee des Arts Decoratifs (723 B) were also executed, such as that sold by Sir Robert Abdy, Sotheby's Monaco, 27 June 1991, lot 519. The ebeniste also interpreted this model for the celebrated regulateurs supplied to the comte de Toulouse (now in the Louvre - OA 6746) and Cardinal Ottoboni (now in the Gulbenkian Museum, Lisbon, inv. 2/56 3/326). GAUDRON The signature "Gaudron a Paris" was employed by Antoine Gaudron, who was elected maitre horloger in 1675, as well as by his sons Antoine and Pierre, both appointed horloger in 1691. Father and sons worked together from 1698-1710, offering not only clocks but also bijoux, tableaux, miroirs... Of the three, Pierre was appointed horloger ordinaire de SAS Monseigneur le duc D'Orleans and retired in 1728. Alongside Martinot and Thuret, the Gaudron family were the horlogers most patronised by Boulle. Several related clocks are recorded: two, one with movement by Martinot, the other by J. Thuret, are in the Wallace Collection (F41 and F43); another, with movement by "Gudin le jeune", is in the J. Paul Getty Museum, Catalogue, 1986, p. 76, no. 78; another, by Julien le Roy, is at Waddesdon (G. de Bellaigue, The James A. de Rothschild Collection at Waddesdon Manor, Furniture, Clocks, Gilt Bronzes, London, 1974, vol. 1, pp.48-50; another, by Gaudron a Paris, is in the Elysee Palace; another is at Versailles, inv. V.4267 and Vmb940; and a final example, with movement by Vulliamy, is in the collection of Her Majesty the Queen at Windsor Castle. THOMAS, 2ND EARL DE GREY This cartonnier was almost certainly acquired by Thomas Philip Weddell, 5th Baron Lucas, 3rd Lord Grantham and later 2nd Earl de Grey (1741-1859) for Wrest Park, Hertfordshire. A celebrated Francophile and amateur architect, while at "Paris some years before" de Grey had paid a good deal of attention to small pavilions or buildings in Gardens with a view to Lodges or Park Gates at Wrest' and as early as 1826 he had designed new entrance lodges on the estate in the French manner. On inheriting Wrest from his aunt in 1833, however, de Grey embarked upon a comprehensive rebuilding programme. Acting as architect himself, with the assistance of James Clephane, he raised Giacomo Leoni's earlier house to the ground, although retaining the celebrated garden pavillion designed by Thomas Archer, Armed with the inspirational architectural treaties of J. Courtonne, Le Blond, Le Roux, Blondel and L'Assurance he proceeded to design an early Louis XV hotel in the countryside, completed in 1839 at a cost of L92,832 35 8d. As the letter to his son so tellingly reveals (Bedfordshire Historical Society, vol. 59, no. 1980, p. 65-85), the mansion was a comprehensive essay in Francophile taste. The tapestry room, for instance, was originally to be hung with the Gobelins suite from his house at Newby, acquired by his cousin William Weddell in Paris circa 1765-6, before protracted negotiations for Lord Dundas's similar Gobelins tapestries at Arlington Street were pursued. These ultimately came to nothing, and in the end de Grey commissioned a suite of hangings from the Beauvais factory, after his own designs, which were ordered through Monsieur Salandrouze. The boudoir was painted with medallions "of Watteau-like figures, as like a Sevres cup as we could make them", while the doors for the saloon re-used some "French wainscotting bought for George IV for Windsor Castle by Mr Walsh Porter". De Grey's gout was very much in the vanguard of the revival of interest in Buhl furniture and French taste promoted by George, Prince of Wales, later George IV. It is, therefore, extremely interesting that de Grey mentions "The other four vases I bought off Baldock" in his epistle. The marchand-mercier Edward Holmes Baldock (d. 1854), "Purveyor of China, Earthenware and Glass to William IV" (1832-7) and "Purveyor of China to Queen Victoria" (1838-45), was responsible for the formation of many of the greatest early 19th Century collections of French furniture including, other than that of George IV, those of the Dukes of Buccleuch and Northumberland, William Beckford and George Byng. The predominance of Buhl furniture in the de Grey Collections at Both Newby Hall and Wrest may well point to the assistance of Baldock. However, the numerous references to trips to Paris in the 1820s and 1830s, as well as the fact that Lady de Grey was foremost amongst those who provided for the destitute duchesse's de Berri and Angouleme following the 1830 Revolution, combined with the Earl's opportunistic approach as an amateur, architect and designer, shows that he was more than capable of acquiring supreme objects and furniture alone. Certainly the collections of Buhl at both Newby and Wrest confirm an unerring and discerning eye. It included no less than two commodes (tables en bureau) by Boulle (of which one was sold by Rosemary, Lady Ravensdale in these Rooms, 22 June 1989, lot 108), a Boulle side table (illustrated in situ in the Great Gallery at Panshanger in "Panshanger Hertfordshire II", "Country Life", 18 January 1936, p. 64), two Louis XIV meubles d'appui still at Newby and a similar Boulle bureau plat, untraced, illustrated in the Grand Library in the particulars of the "Sale of Wrest Mansion", 1917. A Louis XIV Boulle bureau-plat also acquired by Lord de Grey and upon which this cartonnier almost certainly originally stood, was sold by the Trustees of Baroness Lucas and Dingwall's Trust in these Rooms, 15 June 1995, lot 33.

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Lot 138: GIRARDON, Francois (1628-1715, French)

Description: Figure of St. John the Baptist, bronze Sculpture (?x14x)?in.

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Lot 146: GIRARDON, Francois (after) (1628-1715, French)

Description: Louis XIV on horseback. Francois I on horseback, bronze pair Sculpture (?x15x)?in.

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A PRINTED ALBUM OF THE GALERIE DU SR. GIRARDON, SCULPTEUR ORDINAIRE DU ROI

Lot 160: A PRINTED ALBUM OF THE GALERIE DU SR. GIRARDON, SCULPTEUR ORDINAIRE DU ROI

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Description: By Nicholas Chevallier (active during the 18th century) after Rene Charpentier (1680-1723) Engravings, six plates from the set of twelve, depicting the sculpture collection formed by Francois Girardon, including his own work and those after the antique, also works by Giambologna, Gianlorenzo Bernini, Francois Du Quesnoy and others, on heavy laid paper, watermarked Double-headed Eagle, countermark T D with a Beehive (cf Heawood 1322, Paris 18th Century), three of the six sheets double page (on two joined sheets), each plate mounted on guards, in blue paper wrappers, occasional foxing, waterstaining and handling defects, the covers worn. Bound with an unrelated (?) plate showing a plan of Cardinal Richelieu's tomb. Image 545 x 1140mm. (and smaller) Sheet 590 x 1190mm. (and smaller) NOTES Francois Girardon (1628-1715) was court sculptor to Louis XIV and a great collector of sculpture himself. Towards the end of his life, he commissioned a series of 13 engravings of his collection, set in an imaginary interior, to record it for posterity.

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Lot 161: After Giradon: A pair of terracotta urns, representing the triumph of Venus and Galatea,

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Description: second half 20th Century, each of campana form the sides moulded with classical scenes with ram's head handles on rising fluted circular foot and square base and cylindrical pedestal moulded with cartouches and festoons of flowers, on square base, 173 cm.; 68 ins. high overall Originally modelled in bronze by Francois Girardon (1628-1715) they were exhibited in the Salons of 1699 and 1704. A similar bronze pair are in the Wallace Collection, London. A marble pair, originally intended for the Parterre Nord at Versailles stood from 1706-76 in the Trianon Gardens, Paris. Literature: C. Souchal, French Sculptors of the 17th and 18th Centuries, The Reign of Louis XIV, Vol.II, page 51/52.

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Lot 175: After Girardon: A pair of composition stone urns representing the triumph of Venus and Galatea,

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Description: late 19th Century, each of campana form the sides moulded with classical scenes and with ram's head handles on rising fluted circular foot and square base and on square moulded pedestal, 205 cm.; 81 ins. high Originally modelled in bronze by Francois Girardon (1628-1715) they were exhibited in the Salons of 1699 and 1704. A similar bronze pair are in the Wallace Collection, London. A marble pair, originally intended for the Parterre Nord at Versailles stood from 1706-76 in the Trianon Gardens, Paris. Literature: C. Souchal, French Sculptors of the 17th and 18th Centuries, The Reign of Louis XIV, Vol.II. page 51/52.

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Beau Christ mourant en ivoire sculpté - Attribué à

Lot 187: Beau Christ mourant en ivoire sculpté - Attribué à

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Description: Beau Christ mourant en ivoire sculpté - Attribué à François Girardon (1628-1715)

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GIRARDON (François), sculpteur (1628-1715), par

Lot 196: GIRARDON (François), sculpteur (1628-1715), par

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Description: GIRARDON (François), sculpteur (1628-1715), par Pierre DREVET, s. d. [1696 ?], d'après VIVIEN (35,5 x 47,5 cm [sujet]). Exemplaire en deuxième état. Exemplaire sans...

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Lot 197: GIRARDON (François), sculpteur du Roi (1628-1715),

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Description: GIRARDON (François), sculpteur du Roi (1628-1715), par DUCHANGE, 1707, d'après Hyacinthe RIGAUD (26 x 36 cm ou 44 x 62 cm avec les marges). EXEMPLAIRE À GRANDES MARGES.

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Lot 199: GIRARDON, FRANcOIS (1628-1715)

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Description: Louis XIV on a rearing horse, after Girardon Bronze/stepped black marble plinth 26.8 in (68 cm) Cf. M. Martin, Monuments Equestres de Louis XIV, Paris 1986.

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Lot 224: GIRARDON, Francois (after) (1628-1715, French)

Description: The Rape of Proserpine, bronze executed c.1860 Sculpture (?x41x)?in.

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A BRONZE PORTRAIT BUST OF THE GRAND DAUPHIN, SON OF LOUIS XIV

Lot 265: A BRONZE PORTRAIT BUST OF THE GRAND DAUPHIN, SON OF LOUIS XIV

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Description: CIRCA 1691-1709, BY FRANCOIS GIRARDON (1628-1715) Depicted in a perruque, his head turned slightly to dexter, wearing a cravat, and armour decorated in relief with intertwining dolphins, a sash draped diagonally across the shoulders; on an associated circular iron socle. Dark brown patina with chocolate brown high points. 17in. (43.2cm.) high 221/2in. (57cm.) high, overall PROVENANCE Probably Fran‡ois Girardon (1628-1715). H.M.W. Oppenheim; sold Christie's, London, 11 June, 1913, lot 169 (described as Louis XIV and paired with a bust of Queen Marie-Th‚rŠse, 1150gns. to Duveen). Anna Thomson Dodge; sold Christie's, London, 24 June 1971, lot 3 (2800gns.). LITERATURE R. Charpentier, Galerie de Girardon, 13 plates engraved by Chevalier and Ertinger, Paris, 1710, pl. II, no. 2. F. Souchal, 'La Collection du Sculpteur Girardon d'aprŠs son Inventaire aprŠs D‚cŠs', Gazette des Beaux Arts, LXXXII, 1973, pp. 1-112. F. Souchal, French Sculptors of the 17th and 18th centuries - The reign of Louis XIV, IV (Supplement), London, 1993, no. 117, pp. 113-114. P. Laverack, ed., Daniel Katz Ltd 1968-1993 - A Catalogue Celebrating Twenty-Five Years of Dealing in European Sculpture and Works of Art, London, 1993, pp. 108-109. J. Auersperg, Daniel Katz - European Sculpture, London, 1996, no. 39, pp. 84-85. COMPARATIVE LITERATURE: J. Pope-Hennessy and A. Radcliffe, The Frick Collection - An Illustrated Catalogue, IV, New York, 1970, pp. 73-77. F. Souchal, French Sculpture of the 17th and 18th centuries - The reign of Louis XIV, II, Oxford, 1981, pp. 14-83. NOTES The Grand Dauphin (1661-1711), known at court as 'Monseigneur', was the son of Louis XIV and Queen Marie-Th‚rŠse of France. He married Anne-Marie-Christine of Bavaria and had three sons, but predeceased his father when he died of smallpox at the age of fifty, so that Louis XIV was eventually succeeded by his great-grandson. Fran‡ois Girardon (1628-1715) was born in Troyes to the son of a metal-founder. He was apprenticed to a cabinet-maker and sculptor and eventually came to the attention of the Chancellor S‚guier, who sent him to Rome in 1648. Shortly after his return to Paris, he entered the employ of the Crown, where he was to remain for the rest of his professional career. He oversaw royal projects and submitted models to be executed by other artists. With Hardouin-Mansart, he directed the sculptural decoration of the D“me des Invalides . According to Souchal he was, effectively, a 'superintendent for sculpture' for nearly 15 years (Souchal, 1981, op. cit, p. 14). In 1690 he was knighted, and in 1695 he became Chancellor of the Academy. He died on the same day as his former master, Louis XIV, a rich man. He was also the owner of a large and important collection of sculpture which he had recorded for posterity in a series of thirteen engravings. The present bust is one of a number of known examples of the model (for a discussion of the example in the Frick Collection see Pope-Hennessy, loc. cit. ) but it is singled out by Fran‡ois Souchal in the supplement to his monumental work on French sculpture as being of the finest quality, and therefore, presumably, the original cast owned by Girardon himself (Souchal, 1993, op. cit., p. 114). The bust is often paired with another bronze bust of the Dauphin's mother, Marie-Th‚rŠse, and has, in the past, often been incorrectly identified as Louis XIV himself, despite the presence of the intertwining dolphins on his armour. Confirmation of the identity of the sitter comes from the engravings of Girardon's collection, executed in 1710. In the second plate of the engravings two busts appear on either side of the central niche. The one on the left is described as 'Buste de Bronze du Roy fait par F. Girardon haut de 2 pi. 2 po.' [Bronze Bust of the King by F. Girardon, 2ft 2in. high]. On the right is an engraving of the present model described 'Buste de Bronze de Monseigneur de pareille hauteur par le mˆme' [Bronze Bust of Monseigneur of the same height by the same]. The height listed in the caption equals approximately 70 centimetres. This differs from the size of the bust in the engraving - which is executed to scale - which gives a height of approximately 48 centimetres, without socle. Although the present bust is marginally smaller, Professor Souchal confirms that the engravings can be taken only as an approximation, and that a discrepancy of 5 centimetres represents an acceptable margin of error. He further notes that he has never encountered an example of the bust of the larger - 70 centimetre - scale (private correspondence of 16 May 2001). The high quality of the present bust, with its filed and chased surface and rich patina, has long been recognised by connoiseurs. It belonged formerly to H.M.W. Oppenheim, whose distinguished collection of French furniture, sculpture and porcelain was largely dispersed in a five day sale at Christie's in 1913 ('Catalogue of the Choice Collection of French Furniture, chiefly of the 18th century, Porcelain & Objects of Art Formed By H.M.W. Oppenheim, Esq., Deceased, Late of Bruton Street, W.', see provenance above). It was bought by Lord Duveen in that sale who almost certainly sold it directly to Anna Thomson Dodge, widow of a co-founder of the car manufacturing dynasty. In the early 1930s, Dodge was building a French chƒteau in the fashionable Detroit suburb of Grosse Pointe. She turned to Duveen, among others, for advice in furnishing the chateau, and made several buying trips to Europe herself during the course of the decade. The collection remained at the Rose Terrace property until Mrs Dodge's death in 1970. Under the terms of her will, the contents of the Music Room were bequeathed to the Detroit Institute of Art including SŠvres porcelain, French furniture and two portraits by Gainsborough. The present bust was sold in a single owner sale held by Christie's in London. It now appears for the third time in a Christie's sale over a period of almost ninety years.

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A Good French Bronze of

Lot 286: A Good French Bronze of "Pluto and Persephone",

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Description: A Good French Bronze of "Pluto and Persephone", 19th c., after François Girardon (French, 1628-1715), variegated patina with some oxidation, height 43 1/2 in., width 18 in., depth 15 in.

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AFTER GASPARD MARSY (1624-81) AND ANSELME FLAMEN (1647-1717),

Lot 316: AFTER GASPARD MARSY (1624-81) AND ANSELME FLAMEN (1647-1717), "'BOREAS ABDUCTING ORITHYIA' ; AND AFTER FRANÇOIS GIRARDON (1628-1715),'PLUTO ABDUCTING PROSERPINA' FRENCH, 19TH CENTURY

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Description: AFTER GASPARD MARSY (1624-81) AND ANSELME FLAMEN (1647-1717), "'BOREAS ABDUCTING ORITHYIA' ; AND AFTER FRANÇOIS GIRARDON (1628-1715),'PLUTO ABDUCTING PROSERPINA' FRENCH, 19TH CENTURY height of taller 44 in. 110.5 cm

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Lot 359: A lead figure emblematic of Spring, attributed to John Cheere,

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Description: mid-18th Century, semi draped with flower entwined hair and holding a wicker basket of flowers, on associated vermiculated panelled square pedestal Restored 227 cm.; 89 ins. high This lead figure of Spring derives from a marble original in the gardens of Versailles. This figure, sculpted by Laurent Magnier between 1674 and 1681 was itself part of a group of the Four Seasons executed from designs supplied by Charles Lebrun. The three companion figures at Versailles are: Summer, by Pieree Hutinot (1616-1679) Autumn, by Thomas Regnaudin (1622-1706) Winter, by Francois Girardon (1628-1715) The present lead version of Spring is a mirror image of Magnier's figure, suggesting that the design was taken from an engraving, possibly Simon Thomassin's survey of the garden statuary at Versailles, published in 1694. This figure probably originates from the workshops of John Cheere, who is known to have supplied an identical model for the sixth Earl of Coventry's country seat, Croome Court. It was placed in a niche of the Orangery (designedby Robert Adam). Cheere's bill for this figure, and for its pair, Ceres, totalled 48 guineas, and is receipted 5th June 1763. Two lead figures by Cheere survive at Southill, they are slightly modified examples of Hutinot's Summer and Girardon's Winter. Literature: F. Souchal, French Sculptors of the 17th and 18th Centuries, Oxford 1987, p.9. no.28.

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After Girardon: A pair of composition stone urns

Lot 383: After Girardon: A pair of composition stone urns

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Description: After Girardon: A pair of composition stone urns on pedestals French, late 19th/early 20th century 203cm.; 80ins high Originally modelled in bronze and as a pair by Francois Girardon (1628-1715) they were exhibited at the salons of 1699 and 1704. A similar bronze pair are in the Wallace collection, London. A marble pair, originally intended for the Parterre Nord at Versailles stood from 1706-76 at the Trianon Gardens, Paris. Literature: C. Souchal, French Sculptors of the 17th and 18th Centuries, The Reign of Louis XIV, Vol. II. Page 51-2 384. A pair of terracotta storage jars Italian, late 19th century one indistinctly stamped vincenzo bitossi montelupo, one with sandstone base 81cm; 32ins high

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After Girardon: A pair of composition stone urns

Lot 384: After Girardon: A pair of composition stone urns

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Description: After Girardon: A pair of composition stone urns on pedestals French, late 19th/early 20th century 203cm.; 80ins high Originally modelled in bronze and as a pair by Francois Girardon (1628-1715) they were exhibited at the salons of 1699 and 1704. A similar bronze pair are in the Wallace collection, London. A marble pair, originally intended for the Parterre Nord at Versailles stood from 1706-76 at the Trianon Gardens, Paris. Literature: C. Souchal, French Sculptors of the 17th and 18th Centuries, The Reign of Louis XIV, Vol. II. Page 51-2

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A pair of terracotta urns early 20th century

Lot 387: A pair of terracotta urns early 20th century

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Description: A pair of terracotta urns early 20th century 92cm.; 36ins high Originally modelled in bronze by Francois Girardon (1628-1715) they were exhibited at the salons of 1699 and 1704. A similar bronze pair are in the Wallace collection, London. A marble pair, originally intended for the Parterre Nord at Versailles stood from 1706-76 at the Trianon Gardens, Paris. Literature: C. Souchal, French Sculptors of the 17th and 18th Centuries, The Reign of Louis XIV, Vol. II. Page 51-2

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Lot 486: GIRARDON, Francois (after) (1628-1715, French)

Description: Figure of Louis XIV on horseback, i. gold brown pat.bronze Sculpture (?x43x)?in.

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GIRARDON François (1628-1715). D'après.

Lot 496: GIRARDON François (1628-1715). D'après. "Louis XIV

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Description: GIRARDON François (1628-1715). D'après. "Louis XIV à cheval" en bronze à patine brune. D'après Girardon. Ecole française. Epoque : XIXème. H.(hors socle en marbre):43cm.

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Lot 567: GIRARDON, FRANcOIS (1628-1715)

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Description: Eneas llevando a su padre Anquisses seguido de Ascanio Bronce 22.5 in (57 cm) Fundicion XIX.

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FRAGMENT DE TETE REPRESENTANT LOUIS XIV

Lot 590: FRAGMENT DE TETE REPRESENTANT LOUIS XIV

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Description: FRAGMENT DE TETE REPRESENTANT LOUIS XIV ATELIER DE FRANCOIS GIRARDON (1628-1715), FIN DU XVIIEME OU DEBUT DU XVIIIEME SIECLEEn bronze, représenté tournant la tête à gauche et portant une perruque élaborée; reposant sur un support moderne en bois et sur un socle circulaire en bois noirci; traces d'étiquette au dessous; patine brune à rehauts brun chocolatHauteur: 16 cm. (6¼ in.), Hauteur totale: 27 cm. (10¾ in.)

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*IMPORTANT CLOCK

Lot 1098: *IMPORTANT CLOCK "AUX CHEVAUX" WITH BAROMETER,Louis XIV, the case after designs by A.C. BOULLE (André Charles Boulle, 1642-1732), the h

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Description: IMPORTANT CLOCK "AUX CHEVAUX" WITH BAROMETER,Louis XIV, the case after designs by A.C. BOULLE (André Charles Boulle, 1642-1732), the horse figures after models by F. GIRARDON (François Girardon, Troyes 1628-1715 Paris) or J. LESCUTE (active circa 1700), the movement signed HOMMET A PARIS (probably Marie-Charles Hommet, maitre 1717), Paris circa 1700/10. Red tortoiseshell finely inlaid with partly engraved brass, depicting birds, masks, tendrils, wave bands, flowers and leaves. The stele-shaped case glazed on three sides, with a figure of Chronos atop and horses to the side. The barometer with 5 enamel plaques for weather information. The finely engraved and relief-decorated dial with 12 enamel cartouches and the clock with later anchor escapement and 4/4 striking on 3 bells. Exceptionally fine matte and polished gilt bronze mounts and applications. 60x25x113 cm. Provenance: - formerly in the collection of the Time Museum, Rockford, Illinois (Inventory number D 1019). - Sotheby's New York 2.12.1999 (lot. 71). - Private collection, USA. - Antiquorum auction Geneva 15.5.2005 (lot. 214). - from a highly important Eurpean collection. A highly important clock of outstanding quality. Illustrated in S.G. Athewood / W. Andrews, The Time Museum - an introduction, Illinois 1983; p. 12. PRUNK-PENDULE "AUX CHEVAUX" MIT BAROMETER, Louis XIV, das Gehäuse nach Vorlagen von A.C. BOULLE (André Charles Boulle, 1642-1732), die Pferdefiguren nach Modellen von F. GIRARDON (François Girardon, Troyes 1628-1715 Paris) oder J. LESCUTE (tätig um 1700), das Werk sign. HOMMET A PARIS (wohl Marie-Charles Hommet, Meister 1717), Paris um 1700/10. Rotes Schildpatt ausserordentlich fein eingelegt mit teils graviertem Messing; Vögel, Maskaronen, Ranken, Mäanderband, Blumen, Blätter und Voluten. Stelenförmiges, dreiseitig verglastes Gehäuse mit Eckvasen und Chronos-Aufsatz und Eckvasen, auf Bastionssockel mit seitlichen Pferden und Fronton mit halbrundem Barometer mit 5 Emailplaketten für Wetterangaben, auf gedrehten Beinen. Fein reliefiertes, graviertes Bronzezifferblatt mit 12 Emailkartuschen für römische Stundenzahlen und 2 gebläuten Zeigern. Späteres Ankerwerk mit 4/4-Stundenschlag auf 3 Glocken. Ausserordentlich feine, matt- und glanzvergoldete Bronzebeschläge und -applikationen in Form von Maskaronen, Kapitellen, Muscheln, Blättern, Palmetten und Zierfries. 60x25x113 cm.

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Francois Girardon (1628-1715), copy after; An

Lot 1166: Francois Girardon (1628-1715), copy after; An

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Description: Francois Girardon (1628-1715), copy after; An equestrian statue of patinetde bronze, Louis XIV. Probably 19th century. (2).

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Porträt Louis XIV

Lot 1453: Porträt Louis XIV

Description: Portrait of Louis XIV. 20th c. White marble. Unsigned.20. Jh. Weißer Marmor. Auf Sockel, Büste des Sonnenkönigs mit prächtiger Perücke und Halsbinde. Unsign. H. (mit Sockel) 98 cm.Die Skulptur lehnt sich an das Vorbild der Büste Louis' XIV. von François Girardon (1628 - 1715) an. Starting Bid - EUR 2800

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Lot 2788: GIRARDON, Francois (after) (1628-1715, French)

Description: Equestrian group - Louis XIV, bronze executed 19th C Sculpture (36x43x)?in.

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FRANÇOIS GIRARDON, Troyes 1628-1715 Paris, Pluto entführt Proserpina in die Unterwelt, 1780-1820

Lot 3696: FRANÇOIS GIRARDON, Troyes 1628-1715 Paris, Pluto entführt Proserpina in die Unterwelt, 1780-1820

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Description: FRANÇOIS GIRARDON, Troyes 1628-1715 Paris, Pluto entführt Proserpina in die Unterwelt, 1780-1820, Nach, Bezeichnet mit Silberstempel, Marke "C" mit Krone für Karlstad, (S)., Dunkel patinierte Bronze. Der Sockel ist aus vergoldeter Bronze, ziseliert mit Masken, Blattwerk, Voluten und Rankenornamenten im Régence-Stil. H = 54 cm (ohne Sockel), H = 16,5 cm (Sockelhöhe),

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Pluto entführt Proserpina in die Unterwelt, 1780-1820

Lot 3796: Pluto entführt Proserpina in die Unterwelt, 1780-1820

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Description: Pluto entführt Proserpina in die Unterwelt, 1780-1820 FRANÇOIS GIRARDON Nach Troyes 1628-1715 Paris Bezeichnet mit Silberstempel, Marke "C" mit Krone für Karlstad, (S).

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Pluto entführt Proserpina in die Unterwelt, 1780-1820

Lot 3848: Pluto entführt Proserpina in die Unterwelt, 1780-1820

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Description: FRANÇOIS GIRARDON Pluto entführt Proserpina in die Unterwelt 1780-1820 Nach Troyes 1628-1715 Paris Bezeichnet mit Silberstempel Marke "C" mit Krone für Karlstad (S). Dunkel patinierte Bronze. Der Sockel ist aus vergoldeter Bronze ziseliert mit Masken Blattwerk Voluten und Rankenornamenten im Régence-Stil. H = 54 cm (ohne Sockel) H = 16,5 cm (Sockelhöhe)

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an italian marble figural group

Lot 69296: an italian marble figural group

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Description: AN ITALIAN MARBLE FIGURAL GROUP OF THE RAPE OF PERSEPHONE 40-1/2 inches (102.9 cm) high, excluding base After the 17th century sculpture by François Girardon (French, 1628-1715) for the Garden of the Château, Versailles, depicting the rape of Persephone by Hades, on a polychrome marble pedestal

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