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A pair of Empire table candelabra from the Château de NeuillyOrmolu candelabra made from several

In Decorative Kunst

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A pair of Empire table candelabra from the Château de NeuillyOrmolu candelabra made from several - Bild 1 aus 2
A pair of Empire table candelabra from the Château de NeuillyOrmolu candelabra made from several - Bild 2 aus 2
A pair of Empire table candelabra from the Château de NeuillyOrmolu candelabra made from several - Bild 1 aus 2
A pair of Empire table candelabra from the Château de NeuillyOrmolu candelabra made from several - Bild 2 aus 2
Das Auktionshaus hat für dieses Los keine Ergebnisse veröffentlicht
Köln

Paar Empire-Tischkandelaber aus dem Château de Neuilly
Feuervergoldete Bronze. Aus zahlreichen Teilen verschraubte, jeweils siebenarmige Leuchter. Klassizistischer Architekturaufbau auf hohem Postament mit vierseitig applizierten Trophäen in Kränzen. Gegliederte verjüngte Rundsäule unter einer Kugel, umlaufend sechs geschweifte Füllhornarme, ein weiterer mittig aufgesteckt. Fein ziselierter dichter, matter und blank polierter Reliefdekor aus Akanthus, Palmetten und Lotusblüten. Gestempelte Inventarnummer LPN mit Krone 11068 und 11069. H 93,5, D 39,5 cm.
Paris, Pierre-Philippe Thomire, zugeschrieben, um 1830.

Pierre Philippe Thomire (1751 - 1843) erlernte sein Handwerk in der Werkstatt des berühmten Pariser Bronziers Pierre Gouthière, einem herausragenden Ciseleur-Doreur. In den 1780er Jahren erhielt er die ersten Aufträge für den Hof. Seinen Durchbruch erreichte er unter Napoléon, der ihn mit zahlreichen Aufträgen versorgte. Unter vielem anderen schuf die berühmte Wiege für den König von Rom, die sich heute in der Schatzkammer, Kunsthistorisches Museum Wien, befindet (Inv. WS XIV 28).

Das Schloss von Neuilly, das 1648 dem Marquis de Nointel gehörte, wurde 1751 von dem Architekten Cartaud für Marc Pierre de Voyer d'Argenson umgebaut. Nach seinem Tod ging das Schloss an Madame de Montesson, die morganatische Gattin von Louis-Philippe le Gros, Herzog von Orléans (1725 - 1785), Großvater des späteren Königs Louis-Philippe, über. 1804 kaufte Murat, bereits Besitzer des Schlosses von Villiers, noch das benachbarte Schloss Neuilly. Nachdem Murat zum König von Neapel ernannt wurde, ging das Gebäude zurück an die Krone. Napoleon schenkte Neuilly seiner Schwester Pauline, die dort nie lebte.
1817 wurden die beiden Schlösser von Louis-Philippe, dem damaligen Herzog von Orléans, gegen die Stallungen in Chartres ausgetauscht, die ihm gehörten und in denen seit 1801 die Pferde der Krone untergebracht waren. Er vergrößerte das Anwesen und ließ mehrere Gebäude errichten, um seine vielen Kinder und seine Schwester Adelaïde unterzubringen.
Währen der Revolution von 1848 wurde das Schloss in Brand gesteckt und geplündert. 1852 konfiszierte Napoleon III. es als Eigentum des Hauses von Orléans, danach wurde der Park in 700 Parzellen aufgeteilt, in Straßen und Grundstücke, die sukzessive versteigert wurden. Nur ein Flügel des Schlosses, der für Madame Adélaïde, blieb stehen und erfuhr im Verlauf der folgenden Jahrzehnte mehrfache Nutzungsänderungen.

Provenienz
Kopenhagener Privatsammlung.

Literatur
Vgl. ähnliche Reliefornamente auf einer von Thomire signierten Schale bei Ottomeyer/Pröschel,Vergoldete Bronzen, Bd. I, München 1986, Abb. 5.16.10.
Vgl. das signierte Ensemble aus den drei Leuchtern in der Sammlung des Museums für Angewandte Kunst Köln (Kat. Ein Museum im Glück, Köln 2013, S. 82 ff.)
Zu den Kranzmotiven s.a. Alcouffe/Dion-Tenenbaum/Mabille, Les bronzes d´ameublement du Louvre, Dijon 2004, Nr. 138.
Ein Leuchterpaar mit dem Inventarstempel château de Neuilly aus der Sammlung des Maréchal Berthier, Prince de Wagram, wurde bei Sotheby´s Paris am 29. April 2014 versteigert, Lot 139.



A pair of Empire table candelabra from the Château de Neuilly
Ormolu candelabra made from several separately cast pieces. Seven-flame Neoclassical candelabra of architectural design. Tall plinths with trophies in wreaths applied to all four faces supporting tapering columns, curved branches formed as cornucopias and a further central branch issuing from a globe. With finely chased matte and polished acanthus, palmette, and lotus flower décor in bas relief. With stamped inventory number LPN with a crown, 11068 and 11069. Gestempelte Inventarnummer LPN mit Krone 11068 und 11069. H 93.5, D 39.5 cm.
Paris, attributed to Pierre-Philippe Thomire, around 1810 – 20.

Pierre Philippe Thomire (1751 - 1843) learnt his trade from the famous Parisian bronze caster and exceptional ciseleur-doreur Pierre Gouthière. Thomire received his first royal commissions in the 1780s but rose to fame under Napoleon, who provided him with ample work. Among many other orders, he completed the famous cradle made for the King of Rome which is today housed in the treasury of the Kunsthistorisches Museum in Vienna (inv. no. WS XIV 28).

Neuilly palace belonged to the Marquis de Nointel in 1648 but was redesigned by the architect Cartaud for the chancellor d´Argenson in 1751. Following the chancellor's death, the palace passed into the ownership of Madame de Montesson, the morganatic wife of Louis-Philippe le Gros, Duke of Orléans (1725 - 1785). The duke was the grandfather of the later King Louis-Philippe. In 1804 the palace was purchased by Murat, who already owned the neighbouring palace of Villiers. When he was named King of Naples, ownership of the palace was returned to the crown. Napoleon gifted the palace to his sister Pauline, although she was never to live there. In 1817, Louis-Philippe, then Duke of Orléans, exchanged the two palaces for stables in Chartres that belonged to him and in which the king's horses had been stabled since 1801. He enlarged the palace grounds and arranged for the construction of several new buildings to house his many children and his sister Adelaïde.

The palace was partially burnt down and plundered during the Revolution in 1848 and in 1852 it was confiscated by Napoleon III as property of the House of Orléans. The park was divided up into 700 parcels of land, streets, and properties which were successively auctioned off. Only the wing of the palace reserved for Madame Adelaïde was allowed to remain, and experienced many changes in usage throughout the following decades.

Provenance
Private collection, Copenhagen.

Literature
Cf. similar relief ornaments on a dish signed by Thomire in: Ottomeyer/Pröschel, Vergoldete Bronzen, vol. I, Munich 1986, illus. 5.16.10.
Cf. a signed ensemble of three candlesticks in the Museum für Angewandte Kunst Cologne (cat. Ein Museum im Glück, Cologne 2013, p. 82 ff.)
For the wreath motifs, cf.: Alcouffe/Dion-Tenenbaum/Mabille, Les bronzes d´ameublement du Louvre, Dijon 2004, no. 138.
A pair of candlesticks with the same inventory stamp from the château de Neuilly from the collection of the Maréchal Berthier, Prince de Wagram, was sold by Sotheby´s Paris on 29th April 2014, lot 139.

Paar Empire-Tischkandelaber aus dem Château de Neuilly
Feuervergoldete Bronze. Aus zahlreichen Teilen verschraubte, jeweils siebenarmige Leuchter. Klassizistischer Architekturaufbau auf hohem Postament mit vierseitig applizierten Trophäen in Kränzen. Gegliederte verjüngte Rundsäule unter einer Kugel, umlaufend sechs geschweifte Füllhornarme, ein weiterer mittig aufgesteckt. Fein ziselierter dichter, matter und blank polierter Reliefdekor aus Akanthus, Palmetten und Lotusblüten. Gestempelte Inventarnummer LPN mit Krone 11068 und 11069. H 93,5, D 39,5 cm.
Paris, Pierre-Philippe Thomire, zugeschrieben, um 1830.

Pierre Philippe Thomire (1751 - 1843) erlernte sein Handwerk in der Werkstatt des berühmten Pariser Bronziers Pierre Gouthière, einem herausragenden Ciseleur-Doreur. In den 1780er Jahren erhielt er die ersten Aufträge für den Hof. Seinen Durchbruch erreichte er unter Napoléon, der ihn mit zahlreichen Aufträgen versorgte. Unter vielem anderen schuf die berühmte Wiege für den König von Rom, die sich heute in der Schatzkammer, Kunsthistorisches Museum Wien, befindet (Inv. WS XIV 28).

Das Schloss von Neuilly, das 1648 dem Marquis de Nointel gehörte, wurde 1751 von dem Architekten Cartaud für Marc Pierre de Voyer d'Argenson umgebaut. Nach seinem Tod ging das Schloss an Madame de Montesson, die morganatische Gattin von Louis-Philippe le Gros, Herzog von Orléans (1725 - 1785), Großvater des späteren Königs Louis-Philippe, über. 1804 kaufte Murat, bereits Besitzer des Schlosses von Villiers, noch das benachbarte Schloss Neuilly. Nachdem Murat zum König von Neapel ernannt wurde, ging das Gebäude zurück an die Krone. Napoleon schenkte Neuilly seiner Schwester Pauline, die dort nie lebte.
1817 wurden die beiden Schlösser von Louis-Philippe, dem damaligen Herzog von Orléans, gegen die Stallungen in Chartres ausgetauscht, die ihm gehörten und in denen seit 1801 die Pferde der Krone untergebracht waren. Er vergrößerte das Anwesen und ließ mehrere Gebäude errichten, um seine vielen Kinder und seine Schwester Adelaïde unterzubringen.
Währen der Revolution von 1848 wurde das Schloss in Brand gesteckt und geplündert. 1852 konfiszierte Napoleon III. es als Eigentum des Hauses von Orléans, danach wurde der Park in 700 Parzellen aufgeteilt, in Straßen und Grundstücke, die sukzessive versteigert wurden. Nur ein Flügel des Schlosses, der für Madame Adélaïde, blieb stehen und erfuhr im Verlauf der folgenden Jahrzehnte mehrfache Nutzungsänderungen.

Provenienz
Kopenhagener Privatsammlung.

Literatur
Vgl. ähnliche Reliefornamente auf einer von Thomire signierten Schale bei Ottomeyer/Pröschel,Vergoldete Bronzen, Bd. I, München 1986, Abb. 5.16.10.
Vgl. das signierte Ensemble aus den drei Leuchtern in der Sammlung des Museums für Angewandte Kunst Köln (Kat. Ein Museum im Glück, Köln 2013, S. 82 ff.)
Zu den Kranzmotiven s.a. Alcouffe/Dion-Tenenbaum/Mabille, Les bronzes d´ameublement du Louvre, Dijon 2004, Nr. 138.
Ein Leuchterpaar mit dem Inventarstempel château de Neuilly aus der Sammlung des Maréchal Berthier, Prince de Wagram, wurde bei Sotheby´s Paris am 29. April 2014 versteigert, Lot 139.



A pair of Empire table candelabra from the Château de Neuilly
Ormolu candelabra made from several separately cast pieces. Seven-flame Neoclassical candelabra of architectural design. Tall plinths with trophies in wreaths applied to all four faces supporting tapering columns, curved branches formed as cornucopias and a further central branch issuing from a globe. With finely chased matte and polished acanthus, palmette, and lotus flower décor in bas relief. With stamped inventory number LPN with a crown, 11068 and 11069. Gestempelte Inventarnummer LPN mit Krone 11068 und 11069. H 93.5, D 39.5 cm.
Paris, attributed to Pierre-Philippe Thomire, around 1810 – 20.

Pierre Philippe Thomire (1751 - 1843) learnt his trade from the famous Parisian bronze caster and exceptional ciseleur-doreur Pierre Gouthière. Thomire received his first royal commissions in the 1780s but rose to fame under Napoleon, who provided him with ample work. Among many other orders, he completed the famous cradle made for the King of Rome which is today housed in the treasury of the Kunsthistorisches Museum in Vienna (inv. no. WS XIV 28).

Neuilly palace belonged to the Marquis de Nointel in 1648 but was redesigned by the architect Cartaud for the chancellor d´Argenson in 1751. Following the chancellor's death, the palace passed into the ownership of Madame de Montesson, the morganatic wife of Louis-Philippe le Gros, Duke of Orléans (1725 - 1785). The duke was the grandfather of the later King Louis-Philippe. In 1804 the palace was purchased by Murat, who already owned the neighbouring palace of Villiers. When he was named King of Naples, ownership of the palace was returned to the crown. Napoleon gifted the palace to his sister Pauline, although she was never to live there. In 1817, Louis-Philippe, then Duke of Orléans, exchanged the two palaces for stables in Chartres that belonged to him and in which the king's horses had been stabled since 1801. He enlarged the palace grounds and arranged for the construction of several new buildings to house his many children and his sister Adelaïde.

The palace was partially burnt down and plundered during the Revolution in 1848 and in 1852 it was confiscated by Napoleon III as property of the House of Orléans. The park was divided up into 700 parcels of land, streets, and properties which were successively auctioned off. Only the wing of the palace reserved for Madame Adelaïde was allowed to remain, and experienced many changes in usage throughout the following decades.

Provenance
Private collection, Copenhagen.

Literature
Cf. similar relief ornaments on a dish signed by Thomire in: Ottomeyer/Pröschel, Vergoldete Bronzen, vol. I, Munich 1986, illus. 5.16.10.
Cf. a signed ensemble of three candlesticks in the Museum für Angewandte Kunst Cologne (cat. Ein Museum im Glück, Cologne 2013, p. 82 ff.)
For the wreath motifs, cf.: Alcouffe/Dion-Tenenbaum/Mabille, Les bronzes d´ameublement du Louvre, Dijon 2004, no. 138.
A pair of candlesticks with the same inventory stamp from the château de Neuilly from the collection of the Maréchal Berthier, Prince de Wagram, was sold by Sotheby´s Paris on 29th April 2014, lot 139.

Decorative Kunst

Auktionsdatum
Ort der Versteigerung
Neumarkt 3
Köln
50667
Germany

Für Kunsthaus Lempertz Versandinformtation bitte wählen Sie +49 (0)221 9257290.

Wichtige Informationen

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Conditions of Sale

1. The art auction house, Kunsthaus Lempertz KG (henceforth referred to as Lempertz), conducts public auctions in terms of § 383 paragraph 3 sentence 1 of the Civil Code as commissioning agent on behalf of the accounts of submitters, who remain anonymous. With regard to its auctioneering terms and conditions drawn up in other languages, the German version remains the official one.

2. The auctioneer reserves the right to divide or combine any catalogue lots or, if it has special reason to do so, to offer any lot for sale in an order different from that given in the catalogue or to withdraw any lot from the sale.

3. All lots put up for sale may be viewed and inspected prior to the auction. The catalogue specifications and related specifications appearing on the internet, which have both been compiled in good conscience, do not form part of the contractually agreed to conditions. These specifications have been derived from the status of the information available at the time of compiling the catalogue. They do not serve as a guarantee in legal terms and their purpose is purely in the information they provide. The same applies to any reports on an item’s condition or any other information, either in oral or written form. Certificates or certifications from artists, their estates or experts relevant to each case only form a contractual part of the agreement if they are specifically mentioned in the catalogue text. The state of the item is generally not mentioned in the catalogue. Likewise missing specifications do not constitute an agreement on quality. All items are used goods.

4. Warranty claims are excluded. In the event of variances from the catalogue descriptions, which result in negation or substantial diminution of value or suitability, and which are reported with due justification within one year after handover, Lempertz nevertheless undertakes to pursue its rights against the seller through the courts; in the event of a successful claim against the seller, Lempertz will reimburse the buyer only the total purchase price paid. Over and above this, Lempertz undertakes to reimburse its commission within a given period of three years after the date of the sale if the object in question proves not to be authentic.

5. Claims for compensation as the result of a fault or defect in the object auctioned or damage to it or its loss, regardless of the legal grounds, or as the result of variances from the catalogue description or statements made elsewhere are excluded unless Lempertz acted with wilful intent or gross negligence; the liability for bodily injury or damages caused to health or life remains unaffected. In other regards, point 4 applies.

6. Submission of bids. Bids in attendance: The floor bidder receives a bidding number on presentation of a photo ID. Lempertz reserves the right to grant entry to the auction. If the bidder is not known to Lempertz, registration must take place 24 hours before the auction is due to begin in writing on presentation of a current bank reference. Bids in absentia: Bids can also be submitted either in writing, telephonically or via the internet. The placing of bids in absentia must reach Lempertz 24 hours before the auction to ensure the proper processing thereof. The item must be mentioned in the bid placed, together with the lot number and item description. In the event of ambiguities, the listed lot number becomes applicable. The placement of a bid must be signed by the applicant. The regulations regarding revocations and the right to return the goods in the case of long distance agreements (§ 312b-d of the Civil Code) do not apply. Telephone bids: Establishing and maintaining a connection cannot be vouched for. In submitting a bid placement, the bidder declares that he agrees to the recording of the bidding process. Bids via the internet: They will only be accepted by Lempertz if the bidder registered himself on the internet website beforehand. Lempertz will treat such bids in the same way as bids in writing.

7. Carrying out the auction: The hammer will come down when no higher bids are submitted after three calls for a bid. In extenuating circumstances, the auctioneer reserves the right to bring down the hammer or he can refuse to accept a bid. If several individuals make the same bid at the same time, and after the third call, no higher bid ensues, then the ticket becomes the deciding factor. The auctioneer can retract his acceptance of the bid and auction the item once more if a higher bid that was submitted on time, was erroneously overlooked and immediately queried by the bidder, or if any doubts regarding its acceptance arise. Written bids are only played to an absolute maximum by Lempertz if this is deemed necessary to outbid
another bid. The auctioneer can bid on behalf of the submitter up to the agreed limit, without revealing this and irrespective of whether other bids are submitted. Even if bids have been placed and the hammer has not come down, the auctioneer is only liable to the bidder in the event of premeditation or gross negligence.

8. Once a lot has been knocked down, the successful bidder is obliged to buy it. If a bid is accepted conditionally, the bidder is bound by his bid until four weeks after the auction unless he immediately withdraws from the conditionally accepted bid. From the fall of the hammer, possession and risk pass directly to the buyer, while ownership passes to the buyer only after full payment has been received.

9. Up to a hammer price of € 400,000 a premium of 24 % calculated on the hammer price plus 19 % value added tax (VAT) calculated on the premium only is levied. The premium will be reduced to 20 % (plus VAT) on any amount surpassing € 400,000 (margin scheme). On lots which are characterized by N, an additional 7 % for import tax will be charged. On lots which are characterized by an D, 35% is calculated on the hammer price (24% buyer´s premium + 19% VAT on the premium only + import tax). 31% is calculated on the amount surpassing € 400.000. The D objects contain all taxes, and tehy can not be carried away immediately. On lots which are characterized by an R, the buyer shall pay a premium of 24 % on the hammer price up to € 400,000 and 20 % on the surpassing amount; onto this (hammer price and premium) the statutory VAT of 19 % will be added (regular scheme). Exports to third (i.e. non-EU) countries will be exempt from VAT, and so will be exports made by companies from other EU member states if they state their VAT identification number. For original works of art, whose authors are either still alive or died after 31.12.1948, a charge of 1.8 % on the hammer price will be levied for the droit de suite. The maximum charge is € 12,500. If a buyer exports an object to a third country personally, the VAT will be refunded, as soon as Lempertz receives the export and import papers. All invoices issued on the day of auction or soon after remain under provision.

10. Successful bidders attending the auction in person shall forthwith upon the purchase pay to Lempertz the final price (hammer price plus premium and VAT) in Euro. Payments by foreign buyers who have bid in writing or by proxy shall also be due forthwith upon the purchase, but will not be deemed to have been delayed if received within ten days of the invoice date. Bank transfers are to be exclusively in Euros. The request for an alteration of an auction invoice to a person other than the bidder has to be made immediately after the auction. Lempertz however reserves the right to refuse such a request if it is deemed appropriate.

11. In the case of payment default, Lempertz will charge 1% interest on the outstanding amount of the gross price per month.. If the buyer defaults in payment, Lempertz may at its discretion insist on performance of the purchase contract or, after allowing a period of grace, claim damages for non-performance. In the latter case, Lempertz may determine the amount of the damages by putting the lot or lots up for auction again, in which case the defaulting buyer will bear the amount of any reduction in the proceeds compared with the earlier auction, plus the cost of resale, including the premium.

12. Buyers must take charge of their purchases immediately after the auction. Once a lot has been sold, the auctioneer is liable only for wilful intent or gross negligence. Lots will not, however, be surrendered to buyers until full payment has been received. Without exception, shipment will be at the expense and risk of the buyer. Purchases which are not collected within four weeks after the auction may be stored and insured by Lempertz on behalf of the buyer and at its expense in the premises of a freight agent. If Lempertz stores such items itself, it will charge 1 % of the hammer price for insurance and storage costs.

13. As far as this can be agreed, the place of performance and jurisdiction is Cologne. German law applies; the German law for the protection of cultural goods applies; the provisions of the United Nations Convention on Contracts for the International Sale of Goods (CISG) are not applicable. Should any provision herein be wholly or partially ineffective, this will not affect the validity of the remaining provisions.

Henrik Hanstein, sworn public auctioneer
Takuro Ito, Kilian Jay von Seldeneck, auctioneers

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