- A gilt red glass paste cameo brooch-pendant,
A gilt red glass paste cameo brooch-pendant, pierced gold mount, 45mm l, 500 control mark, 17.8g See: carc.ox.ac.uk/XDB/ASP/recordDetailsLarge.asp?recordCount=27&id=%7b2FE4954A-D283-4BDA-B4BE-11B5D5E6F92D%7d&fileName=PONIATOWSKI%2FT703%2F&returnPage=&start=0This cameo is a copy of a Poniatowski gem #T703 entitled: INO [HOLDING HER SON MELICERTES] PURSUED BY PHRIXOS [SON OF ATHAMAS], IS SAVED BY BACCHUS [INO SAVED BY BACCHUS]. More Information Slightly worn
- SCHEIBE-ALSBACH GERMAN PORCELAIN PONIATOWSKI
SCHEIBE-ALSBACH GERMAN PORCELAIN PONIATOWSKI Scheibe-Alsbach German porcelain model of Prince Józef Antoni Poniatowski (Polish 1763-1813) in military uniform on horseback, inscribed to base 'Poniatowski', with blue mark and impressed numerals to reverse of base. 11.5" H x 9" W x 4.75" D. Note: Prince Poniatowski was Marshal of the French Empire and served under Napoleon I during the Napoleonic Wars
- SEM TWO LITHOGRAPHSSEM (Georges Goursat)(France,
SEM TWO LITHOGRAPHSSEM (Georges Goursat)(France, 1863-1934) two lithographs: "Prince Poniatowski" and two women, Both signed on the stone lower right, 20.5" x 12.5" and 14.25" x 10.25" (openings), 31.25" x 22.5" and 24.25" x 19.25" (frames).
- 18TH C. EUROPEAN NEOCLASSICAL CARNELIAN
18TH C. EUROPEAN NEOCLASSICAL CARNELIAN INTAGLIOWestern Europe, Neoclassical period, ca. 18th to early 19th century CE. A charming near-translucent carnelian intaglio depicting a hero lounging on the end of a ship, greeted by a goddess - perhaps Jason aboard the Argonaut. The Neoclassical period of Europe saw immense interest in the Classical world; artists looked to the past for inspiration, and often attempted to pass off their creations as authentic ancient pieces. A famous example of this deceptive practice was the Prince Stanislas Poniatowski of Poland's (1754 to 1833) collection that contained over 1000 intaglios with signatures from various ancient engravers "in greater numbers than there were in antiquity itself." Indeed, this intaglio bears a very clear Greek inscription along the lower edge for either a famous or invented name of an "ancient" artist, indicating this may have been part of Poniatowski's vast collection. This intaglio features a thin brass bezel and is a superb example of the Neoclassical period. Size: 1.95" W x 1.4" H (5 cm x 3.6 cm)
For more information on the Poniatowski collection, please see The British Museum, museum number 1945,0703.3.
Provenance: East Coast collection, New York Gallery, New York City, New York, USA, acquired before 2010
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#144159
Condition:
Two small chips from the center of the face, otherwise in nice condition. The bezel has a dark patina.
- 19TH C. CABINET CUP & SAUCER, WAR TROPHIES
19TH C. CABINET CUP & SAUCER, WAR TROPHIES Continental, 19th century. Painted porcelain cabinet cup and saucer with gilded reserves of war trophies and painted medallion of the polish Napoleonic era general, Prince Jozef Antoni Poniatowski. Unmarked. Catalog Note: This cup and saucer were in the display cabinet at the Windcrofte House on Tuxedo Road. Approx. h. 4.5", diam. 5.25" (saucer).
- A George IV Collection of Wax Impressions
A George IV Collection of Wax Impressions c. 1825 after Classical plaquette subjects including twelve impressions of Roman Emperors in black wax and seven impressions of ancient and modern subjects in blue wax with list of titles handwritten in ink en verso. Note: This attractive panel is an assembly of nineteen miniature wax impressions of engraved gems bronze plaquettes or plaster impressions after those same small bas-relief roundels or ovals including two "modern" subjects which afford the date. These are respectively an impression after a gem or plaster copy of a painted subject The Death of General Wolfe at Quebec 1770 by Benjamin West at top right; and the uppermost subject on the panel Hector Taking Leave of Andromache an impression after one of the hundreds of gem-engravings for Prince Stanislaw Poniatowski of Poland (1754-1833) made at Rome c. 1803-1823. The Twelve Cæsars and the remaining narrative subjects are all taken from standard Antique or Renaissance plaquettes such as the so-called Bacchus and Ariadne at bottom right which is a typical miniaturization of a subject cast in bronze during the Early Renaissance after a surviving gem-engraving from ancient Alexandria. References: Douglas Lewis "Plaquette " Grove Dictionary of Art Jane Turner ed. 34 vols. vol. 25 18-21; idem "The Last Gems " in Engraved Gems: Survivals and Revivals Clifford M. Brown ed. Washington 1997 pp. 292-305; idem Plaquettes Systematic Catalogues of the National Gallery of Art forthcoming.
- Attributed to Luigi Valadier I or a
Attributed to Luigi Valadier I or a Follower (Italian 1726-1785) "Design for a Reliquary or Monstrance" c. 1775/1800 layout in geometric strokes of very light graphite execution in ink and ink wash on cream-colored paper with highly elaborate watermark of a shield (with letters V & K / W in superimposed X's) as well as a countermark (of letters B v K & A I W) positioned on the vertical axis at 90º to the design; unsigned 16 7/8 in. x 9 1/16 in. in a modern mount numbered 29046. Provenance: James R. Lamantia Jr. New Orleans and New York. Note: Andrea Valadier (1695-1759) his sons Luigi I and Giovanni Valadier (1732-1805) and their respective sons (of Luigi I) Giuseppe Valadier (1762-1839) and-of Giovanni-Filippo (b. 1770) Tommaso (b. 1772) and Luigi II Valadier (b. 1781) were seven goldsmiths in three generations who ran Rome's most prominent orificio under their own names from 1714 to 1817 and which has continued under other directors till the present day. This very beautiful drawing though unsigned is documented by its watermark to the late 18th c.; its rich combination of Rococo curves and massive Classical ornament is highly characteristic of the Valadier shop in that best period of its personal supervision. Luigi I for example made a silver and lapis lazuli chalice which Pope Pius VI presented to Prince Stanis?aw Poniatowski (now in the Louvre Paris) as well as a spectacular gold- and silver-plated bronze altar for the Cathedral at Monreale in Sicily (made at Rome 1770-73). The present design in which the flatly-shaded apertures were intended to be filled with plaques of rock crystal epitomizes the gilded bronze table - and altar - fittings inset with hardstones that most successfully characterized Luigi's style. His expertise was particularly embodied in the final member of the family dynasty Luigi II (b. 1781) whose technical mastery of an eclectic and original manner assimilated many historicizing styles into the mainstream of the Neo-Classical movement. Reference: Angela Catello "Valadier " Grove Dictionary of Art Jane Turner ed. London 1996 34 vols. vol. 31 p. 799.
- Continental School (19th Century) "Portrait
Continental School (19th Century) "Portrait of Jozef Poniatowski of Poland", oil on panel, 72" x 46". Presented in a fine and elaborate antique gilt and gesso frame.