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Staircase model , Maitrise
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Staircase model , Maitrise Click here to request more information about this item. |
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Shell Snuff Box
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Shell Snuff Box Fine 19th. century Silver Mounted Tiger Cowry Shell ( Cypraea Tigris ) Snuff Box . Size 10 cm. wide 5,5 cm. high 7 cm. deep. Click here to request more information about this item. |
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Charpente - roofconstruction model
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Charpente - roofconstruction model A late 19th. century French wooden Architectural model of a roof construction " Charpente" Size: 17,2 cm H x 24 cm W x 11 cm D These models were made by pupils of the Compagnonnage.Societies of journeyman in certain craft trades in France. The compagnonnages traced their origin to fraternities of workers on medieval cathedrals or even the Temple of Solomon, but they assumed a stable institutional form in France by the 1600s. Outlawed by the Le Chapelier law of 1791, they survived clandestinely during the Revolutionary and Napoleonic periods to flourish under the Restoration and July Monarchy, when 100,000 workers passed through the compagnonnages every three years. In 1848, a compagnonnage spokes person and writer, Agricol Perdiguier, a joiner by profession, won election to the Constituent Assembly. He hai led the brotherhoods as progressive workers associations; Louis Blanc, Lamartine and George Sand (who wrote a novel about the compagnonnage) shared his enthusiasm. Factionalism, challenges from new forms of worker organizations, economic changes, and opposition to the confraternities' exclusiveness, however, led to the decay of the compagnonnage system in the late 1800s.Particularly strong in the building trades, compagnonnages also existed for among thirty ty pes of tradesmen represented in the movement, such as carpenters, printers, blacksmiths and farriers. Compagnonnages were associations of journeymen, typically eighteen to twenty-five years old, travelling and gaining training on a three- to seven-year tour de France. Apprentices (aspirants) could join, but full members (the compagnons reçus and compagnons finis) possessed a certain level of skill. Because of the lack of opportunities to achieve master status, many artisans remained compagnons for extended periods. Click here to request more information about this item. |
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Staghorn Box
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Staghorn Box Fine 19th. century Anglo Indian Staghorn Box. Materials : Staghorn , Sandelwood and Ebony. Size : 10,5 cm. H. 26,5 cm. W. 12 cm. D. Click here to request more information about this item. |
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South Indian Articulated Procession Mannequin
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South Indian Articulated Procession Mannequin A rare 19th. century wooden articulated mannequin of South India. 167 cm. high Click here to request more information about this item. |
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Artist Mannequin - Lay Figure
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Artist Mannequin - Lay Figure Very fine 18th. century Artist Mannequin or Lay Figure. Size 43 cm. H Click here to request more information about this item. |
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French Regency Chess Set
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French Regency Chess Set Fine 19th. century Chess Board 41 x 41 cm. 8 cm. high with a small draw for papers. Squairs Birdseye Maple and Ebony. pieces , Rosewood and Boxwood. King 10,5 cm. high Click here to request more information about this item. |
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Mannequin , Artist's Lay Figure 1770 - 1790
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Mannequin , Artist's Lay Figure 1770 - 1790 Description : A very fine 18th. century Lay Figure or Artist's Mannequin Came from a female colleague who had him for more than 20 years at her home. I am happy to offer him for sale, as you can see he has some character. Dimensions : 50.00cm high ( 19.69 inches high) Condition : Overall good condition , old restoration on one feet and knee. Click here to request more information about this item. |
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Italian Boxwood Ripple Moulded Mirror 1660-1690
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Italian Boxwood Ripple Moulded Mirror 1660-1690 Fine and rare Italian Boxwood Ripple Moulded Mirror , size 90 cm. H 80 cm. W Click here to request more information about this item. |
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Egyptian Sarcophagus with Corn Mummy
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Egyptian Sarcophagus with Corn Mummy An Egyptian corn mummy and wood sarcophagus Late Period, circa 664-32 B.C. The mummiform falcon-headed lid coated in bitumen and decorated with yellow paint, wearing a broad collar and the tripartite wig, with a standing deity on each lappet, the eyes with added cosmetic lines, a row of standing gods above four columns of text, now unintelligible, the mummy coated in bitumen and wrapped in linen, wearing the White Crown, the gilt wax mask with details added in white and black paint, with remains of the fake beard, the mummy 16½in (42cm) long, the coffin 20in (51cm) long. Osiris, supreme god of resurrection, was closely associated with the life-giving forces of nature, particularly the Nile and vegetation. Above all, he was connected with germinating grain. The emergence of a living, growing, plant from the apparently dormant seed hidden within the earth was regarded by the Egyptians as a metaphor for the rebirth of a human being from the lifeless husk of the corpse. The concept was translated into physical form by the fashioning of images of Osiris out of earth and grain. These "corn-mummies" were composed of sand or mud, mixed with grains of barley. As in this instance, the "mummy" is sometimes wrapped in linen bandages and may possess a finely detailed mask of wax, representing the face of Osiris. Click here to request more information about this item. |
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Rhinoceros Cup
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Rhinoceros Cup Wonderfull 17th. Century German Rhinoceros Horn Stemmed Cup. During the Middle Ages rhinoceros horn was among the exotic materials thought to possess miraculous powers and were therefore highly prized. The first live rhinoceros seen in Europe since antiquity arrived in Lisbon in 1515 as a diplomatic gift to the King of Portugal. H. 18 cm D. 8,5 cm Click here to request more information about this item. |
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A late 19th. century French wooden Architectural model of a roof construction " Charpente" Size: 32 x 32 x 34 cm. These models were made by pupils of the Compagnonnage.Societies of journeyman in certain craft trades in France. The compagnonnages traced their origin to fraternities of workers on medieval cathedrals or even the Temple of Solomon, but they assumed a stable institutional form in France by the 1600s. Outlawed by the Le Chapelier law of 1791, they survived clandestinely during the Revolutionary and Napoleonic periods to flourish under the Restoration and July Monarchy, when 100,000 workers passed through the compagnonnages every three years. In 1848, a compagnonnage spokes person and writer, Agricol Perdiguier, a joiner by profession, won election to the Constituent Assembly. He hai led the brotherhoods as progressive workers associations; Louis Blanc, Lamartine and George Sand (who wrote a novel about the compagnonnage) shared his enthusiasm. Factionalism, challenges from new forms of worker organizations, economic changes, and opposition to the confraternities' exclusiveness, however, led to the decay of the compagnonnage system in the late 1800s.Particularly strong in the building trades, compagnonnages also existed for among thirty ty pes of tradesmen represented in the movement, such as carpenters, printers, blacksmiths and farriers. Compagnonnages were associations of journeymen, typically eighteen to twenty-five years old, travelling and gaining training on a three- to seven-year tour de France. Apprentices (aspirants) could join, but full members (the compagnons reçus and compagnons finis) possessed a certain level of skill. Because of the lack of opportunities to achieve master status, many artisans remained compagnons for extended periods. Click here to request more information about this item. |
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An 19th. century signed papier-maché model male human figure, by "Auzoux" (1797-1878) H.150 cm. Louis Auzoux (1797-1878), a French doctor, was one of the pre-eminent makers of models of humans and other animals during the 19th century. As a young medical student, he had great difficulty in studying human anatomy since cadavers were difficult to come by and decayed rapidly. Auzoux devised an elegant solution; inspired by the toy puppets sold on the streets of Paris, he started to make papier-maché models of human dissections. In 1822, the same year that he received his medical degree, Auzoux presented his first complete anatomical male figure to the Paris Academy of Medicine, receiving a commendation for his work. The genius of Auzoux' s models lay in the fact that, not only were they realistic and anatomically accurate, but also they could be taken apart and reassembled by the student. This was the reason that Auzoux called his papier maché models anatomy clastique, from the Greek word klastos, which means broken in pieces. Click here to request more information about this item. |
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