Don't miss out on these extraordinary pieces of art! Calling all collectors: Auction on December 15th. Act fast to secure your desired gems. Since we have little time and the world is urgent, let's jump straight to our auction selections.
December 15th Art Auction
December 15, 03:30 PM +02
Estimate 40,000 - 60,000 EUR
Offering an exquisite Sèvres porcelain table set from circa 1823, commissioned by the Duchesse de Berry. This stunning collection features intricate floral motifs and enigmatic riddles at the center. Included are two covered ice-pails, six tazze, two covered sugar bowls with a stand, and eighteen table plates. Each piece is adorned with meticulously painted flowers, marked with the double L date stamp, gilder's name, and painter's signature. Plate diameter: 9 ½ inches; Ice pail height: 8 ¾ inches.
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December 15, 03:30 PM +02
Estimate 30,000 - 50,000 EUR
A stunning Charles X Sèvres porcelain and gilt bronze cathedral clock from 1824, adorned with scenes painted by Rumeau and frames by Charles-Antoine Didier. Originally acquired by the Duc d'Orléans in 1826.
Crafted in the neo-Roman style, this clock takes the form of a church, featuring an enamel dial with Roman numerals.
The central porcelain plaque, signed and dated by Rumeau in 1824, depicts 'MIDI or LE REPAS du milieu du jour.' The sides bear plaques by Charles-Antoine Didier portraying 'LE MATIN ou LA MESSE avant la chasse' and 'LE SOIR ou LES AMUSEMENTS d'une soirée.'
Stamped with the LS Sèvres 24 mark under a fleur-de-lys, with additional inscriptions including 'Didier HB (?) / 1824./28.7=' and more. Dimensions: Height: 25 1/2 in, Width: 11 3/4 in, Depth: 6 in. Accompanied by a later wooden piece stamped 'MADE IN ENGLAND' on the carcase.
December 15, 03:30 PM +02
Estimate 20,000 - 30,000 EUR
An opulent Charles X letter box crafted in gilt-bronze mounted elmwood and satinwood, customized for the duchesse de Berry by Alphonse Giroux, featuring miniatures by Emilie de Lorme circa 1826.
Adorned on each side with three miniatures, some delicately painted on ivory, depicting figures like Charles X, the duc and duchesse d'Angoulême, the duchesse de Berry, the duc de Bordeaux, and Louise de France, all embellished with their coat-of-arms. The lateral side reveals a drawer housing an inkstand and caster with silver-gilt covers (1819-1826). The unique handles are designed as hands, while the cover features seven slits representing the days of the week. Includes a Twinight Collection 1742 label.
Dimensions: Height: 12 in, Width: 16 ½ in.
Giuseppe Canella
1788 - 1847
(I) A possible view of Paseo del Prado, with the Cibeles fountain beyond, Madrid
(II) A view of Calle Atocha, Madrid
A pair, both oil on copper
The former, signed lower left below the dog CANELLA; the latter, signed lower right CANELLA
Each: 8,7 x 12,2 cm ; 3⅜ by 4¾ in.
Giuseppe Canella, hailing from Verona, dedicated his artistic career to capturing urban vistas, aligning with the rich Italian tradition of vedute painters. He honed his craft under the guidance of his father, a skilled theatre set painter, mastering the portrayal of cityscapes with remarkable perspective and precision. His meticulous attention to topographical accuracy and intricate details lends a captivating allure to his compositions.
During the early 1820s, Canella journeyed to Spain and later resided in France from 1823 to 1833. His works graced the prestigious Salons in 1826 and 1827. Upon returning to Italy, he initially settled in Milan before assuming a teaching role at the Accademia in Venice. Notably, some of Canella's splendid views of Madrid were painted in 1823, just before his relocation to Paris. A similar composition featuring Calle Atocha was previously auctioned at Christie's, London, in 2001 as lot 62.
Presented in what appears to be their original frames, this pair of paintings showcases Canella's masterful artistry, complemented by frames crafted by the renowned framer Alphonse Giroux.
The Temple of Juno in Agrigento
December 15, 03:30 PM +02
Estimate 12,000 - 18,000 EUR
Lancelot-Théodore Turpin de Crissé
1782 - 1859
The Temple of Juno in Agrigento
Oil on canvas
32,7 x 40,6 cm ; 12⅞ by 16 in.
Lancelot Théodore Turpin de Crissé, a painter bridging the late 18th and early 19th centuries, hailed from a lineage of artists and art enthusiasts. Under the mentorship of Choiseul-Gouffier, his godfather and an esteemed archaeologist,
Turpin de Crissé flourished. His extensive travels led him to Rome, where he deeply immersed himself in the local landscapes.
During the Restoration, Turpin de Crissé's career blossomed at the Académie des Beaux-Arts, affording him numerous journeys to Italy. This painting, dating back to around 1824, is one of a pair exhibited at the 1824 Salon, capturing the temples of Agrigento. Specifically, this artwork portrays the Temple of Juno.
Renowned for his depictions of genre, landscapes, and architectural marvels, Turpin de Crissé specialized in illustrating Doric temples perched on promontories. This particular piece illustrates a dilapidated structure, erected circa 470 BCE, with only its columns remaining on the rocky headland. The composition eloquently reflects the transient essence of time and humanity's powerlessness against the erosion of such monumental relics.
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