Null Enamel advertising display Distributor for Viynleix and Centraline paints/P…

Beschreibung

Enamel advertising display Distributor for Viynleix and Centraline paints/Peinturesa Vinyleix et Centraline Distributeur, France, c. 1930, very good condition, minimal signs of age, motif on both sides, marked Emaillerie Alsaciene Strasbourg at bottom right, 57.5 x 39 cm, weight 2.6 kg. 4335-002

380094

Enamel advertising display Distributor for Viynleix and Centraline paints/Peinturesa Vinyleix et Centraline Distributeur, France, c. 1930, very good condition, minimal signs of age, motif on both sides, marked Emaillerie Alsaciene Strasbourg at bottom right, 57.5 x 39 cm, weight 2.6 kg. 4335-002

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Schätzw. 2 250 - 2 500 EUR

Modeled after EUGÉNE CORNU (1827- 1875); France, c. 1890. Centerpiece. Algerian onyx, agate and bronze. One of the angels does not have a stable support. Measurements: 32,5 x 29 x 29 cm. Centerpiece made of agate, Algerian onyx and gilded bronze. The round foot of agate and defined by a bronze chain in the lower and upper zone, gives way to the base of onyx of Algeria, zone that sustains the shaft of the cup where two small angels of round bulk made in bronze are arranged. The piece has bronze appliques on the shaft as leaves and finally ends in the agate cup carved with gadroons. The piece follows the models of Louis-François-Eugène Cornu, designer and manufacturer of bronze. In 1858, after working as a draughtsman and directing works for Maison Tahan, he became creator and director of the Compagnie des Marbres et Onyx d'Algérie of A. Pallu & Co and then of his successor G. Viot. This company specialized in the manufacture of luxury items combining bronze, Algerian onyx-marble and champlevé enamel. Cornu's creations were exhibited at the London Universal Exhibitions of 1862, 1871 and 1872, and in Paris in 1867, where he was awarded a gold medal for a large pair of onyx, bronze and enamel vases. The Compagnie des Marbres et Onyx d'Algérie also produced objects based on designs by Albert Carrier-Belleuse, Charles Cordier and Louis-Alfred Barrias. In 1878, its stores were located at 24 Boulevard des Italiens in Paris. One of the angels does not have a stable hold.

Schätzw. 4 000 - 4 200 EUR

Pair of Satsuma vases. Japan, XIX century. Glazed ceramic and ebony wood bases. With slight wear due to the passage of time. Measurements: 78 x 32 x 32 cm, 164 x 39 x 39 x 39 cm (with stand). Japanese Satsuma type vase, richly decorated with reliefs, thick enamels and gilding. They have an ovoid belly and a narrow neck that widens towards the mouth and ends flat. They are decorated with convex moldings in relief under the neck. For the rest, the decoration is entirely enameled, in a wide range of colors in which gold predominates, as is common in the Satsuma. The main motifs, vegetal, are framed on the belly, on a golden background, very typical of Japanese porcelain, which we also see on the foot and neck. These scenes are characterized by various characters taken from Japanese mythology and religion: gods, warriors and monks. Satsuma ware has been made since the early 18th century on the island of Kyushu, and was a type with a strong Korean influence, as in fact it was even brought to Korean potters. In the second half of the 18th century it became so popular in Japan that the production center was moved to Awata, near Kyoto. Thus, there is a local production in the eighteenth century, although the pieces for export in the nineteenth century, already produced in Awata, will have a greater importance. The paste is not porcelain, but a very light, porous light terracotta. The glaze is feldspathic, mixed with wood ash. The most characteristic feature of Satsuma pottery is its decorative richness, sometimes even exaggerated. Generally the motifs are brushed in golden glaze, as we see here, a novelty compared to previous styles. In addition, the ornamentation is completed with very varied polychrome enamels: green, red, white, turquoise, pink and, above all, "gosu" blue, the most sought after of all, with a very dark tone and typical of the best Satsuma of the 19th century. In addition, these are very thick glazes, which even have relief, as we see in these pieces. Regarding the decorative motifs, they were very varied, from the floral ones that dominate the domestic production to the figurative ones, the most common in the pieces destined for export.

Schätzw. 3 500 - 3 700 EUR

Romanesque Christ from the Limoges Workshop, 12th-13th century. Gilded copper. It presents breaks and losses in the gilding. Measurements: 7 x 12 cm. Devotional sculpture made in copper, which represents the body of Christ on the cross, although this is not conserved. The piece presents a figure of Christ triumphant, as he is awake and crowned as king of heaven. The Limoges workshop appeared in the last quarter of the 12th century and continued its activity until the 14th century. It flourished again in the 15th century with the new technique of painted enamel. It became the most important enamel workshop, ahead of the Rhineland and Meuse, which disappeared in the 12th century and were dedicated to the production of individual plates on commission, which were then mounted on an object or joined together to form altar frontals. In Limoges, on the other hand, the production of objects, no longer just plaques, decorated with enamels, began, above all for religious but also for secular use. They were cheaper, copper-based pieces, and very attractive because of the enamelled decoration, which made them a huge and immediate success throughout Europe. Limoges is also mentioned in documents, indicating that it was an important centre known throughout Western Europe. One of the distinguishing characteristics of Limoges is its very shallow background dragging, which does not go beyond two or three millimetres. To depict detail, such fine partitioning is used that it can only be distinguished from the excavated one by close observation through a magnifying glass. In Limoges, the enamels were applied according to the client's taste, filling only the background, only the figures, or both. As for the colour range, he used that of the Meuse workshops, which was very varied, but added new colours, such as olive green, a light greyish blue or white for the flesh tones.

Schätzw. 200 - 400 EUR

Group of two pieces of French jewelry including: French 18k gold and pearl and onyx mourning locket brooch with bale and glass locket back. Marked with French eagle head for Paris (minor gold items) 1847-1919. French 18k LeRoy Et Fils yellow gold and black enamel open face watch with white dial with Roman numeral hour markers and Arabic numeral minute markers, 18k gold case with black enamel, inner case marked 149.8 oz LeRoy Et Fils 114-115-116 Galerie du Valois Palais Royal Paris, inner case inside marked with the French horse head for France (minor gold items, limited guarantee) 1838-1919 and 65906. Watch on a trefoil form bale and 14k yellow gold and black enamel chain with dog clip and spring clasp closure, marked indistinctly at the spring clasp, marked 14k with arrowhead and C for Carter, Gough & Co. (Locket pendant) Length: 2 in x width: 1 in. Watch chain: 22 1/2 in. Watch diameter: 28.53 mm. Gross weigh: 50.8 g.

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