\u2015\u2015\u2015\u2015\u2015\u2015\u2015\u2015\u2015\u2015\u2015\u2015\u2015\u2015\u2015\u2015\u2015\u2015\u2015\u2015\u2015<\/p>\n
\ud83d\udcd0 IZM\u0112RI<\/strong><\/p>\n Augstums: 100 cm \u00d7 Platums: 160 cm \u00d7 Dzi\u013cums: 61 cm. Svars: \u0101rk\u0101rt\u012bgi smags (mas\u012bvs koks, bronza, marmors).<\/p>\n \u2015\u2015\u2015\u2015\u2015\u2015\u2015\u2015\u2015\u2015\u2015\u2015\u2015\u2015\u2015\u2015\u2015\u2015\u2015\u2015\u2015<\/p>\n \u2015\u2015\u2015\u2015\u2015\u2015\u2015\u2015\u2015\u2015\u2015\u2015\u2015\u2015\u2015\u2015\u2015\u2015\u2015\u2015\u2015<\/p>\n \ud83c\udfdb\ufe0f IZGATAVO\u0160ANAS PERIODS, M\u0100KSLAS STILS, LAIKMETS<\/strong><\/p>\n \u0160\u012b monument\u0101l\u0101 kumode ir viens no iespaid\u012bg\u0101kajiem Luija XIV<\/strong> un Second Empire<\/strong> stilu sint\u0113zes paraugiem, k\u0101di vien iesp\u0113jami 19. gadsimta<\/strong> Eiropas augst\u0101k\u0101s klases galdniec\u012bb\u0101. T\u0101s m\u0101ksliniecisk\u0101 valoda tie\u0161i atsaucas uz Andr\u00e9-Charles Boulle<\/strong> \u2014 Luija XIV<\/strong> galma \u00e9b\u00e9niste<\/em>, kur\u0161 17. gadsimt\u0101 izveidoja tehnikas, kas v\u0113l\u0101k k\u013cuva par Francijas m\u0113be\u013cu m\u0101kslas augst\u0101ko simbolu. Boulle<\/em> stil\u0101 bronzas appliqu\u00e9<\/em> furnit\u016bra tiek uzkl\u0101ta uz tum\u0161a koka \u2014 mahagona vai roz\u012bpkoka \u2014 veidojot bl\u012bvu, gandr\u012bz tapisserie<\/em> efektu, kur\u0101 katrs kvadr\u0101tcentimetrs ir rot\u0101ts.<\/p>\n \u0160\u012bs kumodes fas\u0101di domin\u0113 monument\u0101ls pusarkas tympanon<\/em> ar centr\u0101lo bronzas m\u00e9daillon<\/em> \u2014 mitolo\u0123iska aina ar fig\u016br\u0101m pastor\u0101l\u0101 ainav\u0101. Pusloka loka iek\u0161pusi piepilda bl\u012bvs acanthus<\/em>, pu\u0137u un lapu appliqu\u00e9<\/em> vijums. Aug\u0161\u0113j\u0101 frize \u2014 ar rinceau<\/em> vijumu bronz\u0101 un godrons<\/em> mali\u0146u. St\u016bros \u2014 piln\u012bgas bronzas kolonnas ar cannelures<\/em> un ormolu<\/em> kapite\u013ciem. S\u0101nos \u2014 vertik\u0101li bronzas baguettes<\/em> vijumi. Lejasda\u013c\u0101 \u2014 swagged<\/em> v\u012bt\u0146u bronzas guirlandes<\/em>. K\u0101jas \u2014 koniskas, ar ormolu<\/em> lapu sabots<\/em>. Centr\u0101lais mascaron<\/em> virs durvju \u0161\u0137\u012bruma \u2014 lauvas seja ar kr\u0113p\u0113m, augst\u0101k\u0101s Empire<\/em> ikonografijas elements. Marmora virsma \u2014 melna ar baltiem dz\u012bslojumiem, Nero Marquina<\/em> vai l\u012bdz\u012bgs \u2014 pie\u0161\u0137ir kumodes aug\u0161da\u013cai absol\u016btu reprezentativit\u0101ti.<\/p>\n Prece dat\u0113jama 1860.\u20131880.<\/strong> period\u0101 \u2014 Belle \u00c9poque<\/strong> priek\u0161vakar\u0101 un s\u0101kum\u0101, kad Napoleona III<\/strong> Second Empire<\/em> laikmeta Par\u012bze bija pasaules elegances centrs.<\/p>\n Belle \u00c9poque momentuz\u0146\u0113mums:<\/em> 1867. gad\u0101 Napoleons III<\/strong> uz\u0146\u0113ma Eiropas monar\u0137us Tuilerie pil\u012b \u2014 starp vi\u0146iem Krievijas caru Aleksandru II<\/strong> un Pr\u016bsijas karali Vilhelmu I<\/strong>. Pie\u0146em\u0161anas z\u0101les kumodes un bufetes bija tie\u0161i \u0161\u0101da veida \u2014 ar bronzas m\u00e9daillon<\/em> un melna marmora virsm\u0101m \u2014 un t\u0101s kalpoja k\u0101 vizu\u0101ls arguments par Francijas kult\u016bras p\u0101r\u0101kumu p\u0101r Eiropu. \u0160\u012b kumode var\u0113tu b\u016bt pieder\u0113jusi tie\u0161i tam pa\u0161am diplom\u0101tisk\u0101s reprezent\u0101cijas pasaulei.<\/p>\n \u2015\u2015\u2015\u2015\u2015\u2015\u2015\u2015\u2015\u2015\u2015\u2015\u2015\u2015\u2015\u2015\u2015\u2015\u2015\u2015\u2015<\/p>\n \u269c\ufe0f RA\u017dOT\u0100JS UN MANUFAKT\u016aRAS Z\u012aMOGS<\/strong><\/p>\n Redzama mar\u0137\u0113juma nav. P\u0113c bronzas appliqu\u00e9<\/em> apstr\u0101des bl\u012bvuma, m\u00e9daillon<\/em> plastiskuma un kolonnu ormolu<\/em> kapite\u013cu kvalit\u0101tes \u2014 lieta n\u0101cis no augst\u0101k\u0101s klases Par\u012bzes<\/strong> \u00e9b\u00e9niste<\/em> darbn\u012bcas, kas specializ\u0113j\u0101s Boulle<\/strong> stila m\u0113bel\u0113s. 19. gadsimta<\/strong> otraj\u0101 pus\u0113 \u0161\u0101du kumodu galvenie ra\u017eot\u0101ji Par\u012bz\u0113 bija t\u0101das firmas k\u0101 Beurdeley<\/strong>, Groh\u00e9<\/strong> un Zwiener<\/strong> \u2014 augst\u0101k\u0101 \u00e9b\u00e9nisterie<\/em> l\u012bme\u0146a p\u0101rst\u0101vji, kuru darbi non\u0101ca Eiropas karalisko galmu kolekcij\u0101s. Bronzas m\u00e9daillon<\/em> mitolo\u0123isk\u0101 aina ar amor\u012bniem pastor\u0101l\u0101 ainav\u0101 ir tipisks Beurdeley<\/strong> vai Linke<\/strong> stila elements.<\/p>\n \u2015\u2015\u2015\u2015\u2015\u2015\u2015\u2015\u2015\u2015\u2015\u2015\u2015\u2015\u2015\u2015\u2015\u2015\u2015\u2015\u2015<\/p>\n \ud83d\udc8e RETUMS UN NOZ\u012aME<\/strong><\/p>\n Monument\u0101la Boulle<\/strong> stila kumode \u0161\u0101d\u0101 izm\u0113r\u0101 \u2014 160 cm platum\u0101 \u2014 ar piln\u012bgi saglab\u0101tu bronzas appliqu\u00e9<\/em> fas\u0101di, m\u00e9daillon<\/em>, lauvas mascaron<\/em> un ori\u0123in\u0101lu melna marmora virsmu ir \u0101rk\u0101rt\u012bgi reta par\u0101d\u012bba antikv\u0101ru tirg\u016b. \u0160\u0101da veida lielform\u0101ta kumodes tika izgatavotas vien maz\u0101 skait\u0101 \u2014 t\u0101s bija paredz\u0113tas pilu un augst\u0101ko sabiedr\u012bbas aprindu rezidenc\u0113m. Kolekcion\u0101ru un muzeju pasaul\u0113 Boulle<\/em> stila lielform\u0101ta lietas ar mitolo\u0123iskiem m\u00e9daillons<\/em> pieder augst\u0101k\u0101s cenas kategorijai.<\/p>\n \u2015\u2015\u2015\u2015\u2015\u2015\u2015\u2015\u2015\u2015\u2015\u2015\u2015\u2015\u2015\u2015\u2015\u2015\u2015\u2015\u2015<\/p>\n \ud83d\udd6f\ufe0f PIELIETOJUMS INTERJER\u0100, DIZAIN\u0100 UN FOTOGR\u0100FIJ\u0100<\/strong><\/p>\n \u0160\u012b kumode ir rad\u012bta reprezentat\u012bviem salona<\/strong>, \u0113damistabas<\/strong> vai vestibila<\/strong> interjeriem. T\u0101s 160 cm platums un melna marmora virsma padara to par ide\u0101lu bufeti vai ekspoz\u012bcijas leti m\u0101kslas priek\u0161metiem, lamp\u0101m vai porcel\u0101nam. Sader ar Luija XIV<\/strong>, Second Empire<\/strong>, Neo-Baroka<\/strong> un grand palais<\/em> interjeriem. Interjeru fotogr\u0101fij\u0101 \u2014 absol\u016bts 19. gadsimta Par\u012bzes grand salon<\/strong> akcents. Luksusa viesn\u012bcu, gal\u0113riju un pils stila rezidences iek\u0101rto\u0161an\u0101 t\u0101 ir vienas no domin\u0113jo\u0161aj\u0101m m\u0113bel\u0113m.<\/p>\n \u2015\u2015\u2015\u2015\u2015\u2015\u2015\u2015\u2015\u2015\u2015\u2015\u2015\u2015\u2015\u2015\u2015\u2015\u2015\u2015\u2015<\/p>\n \ud83c\udf81 D\u0100VANA UN PERSONALIZ\u0100CIJA<\/strong><\/p>\n \u0160\u012bs kumodes apjoms un m\u0101ksliniecisk\u0101 intensit\u0101te padara to par izcilu reprezentat\u012bvu ieg\u0101di<\/strong> augst\u0101k\u0101 l\u012bme\u0146a kolekcij\u0101m, luksusa rezidenc\u0113m un institucion\u0101liem interjeriem. T\u0101 izsaka ne tikai gaumi, bet ar\u012b dzi\u013cu izpratni par Eiropas kult\u016brv\u0113sturi. Zvaigzn\u0101ju simbolik\u0101 \u2014 Lauva<\/strong>, Skorpions<\/strong> un M\u0113rka\u0137is<\/strong> \u2014 personas ar dramatisku, monument\u0101lu est\u0113tisko redz\u0113jumu.<\/p>\n \u2015\u2015\u2015\u2015\u2015\u2015\u2015\u2015\u2015\u2015\u2015\u2015\u2015\u2015\u2015\u2015\u2015\u2015\u2015\u2015\u2015<\/p>\n \ud83d\udd0d ST\u0100VOKLIS<\/strong><\/p>\n Kumode ir lab\u0101 visp\u0101r\u0113j\u0101 st\u0101vokl\u012b, \u0146emot v\u0113r\u0101 vecumu un apjomu. Bronzas appliqu\u00e9<\/em> fas\u0101de liel\u0101koties saglab\u0101jusies \u2014 viet\u0101m redzama dab\u012bga oksid\u0101cija un patina, kas pie\u0161\u0137ir autenticit\u0101ti. Atsevi\u0161\u0137as bronzas deta\u013cas s\u0101nos ar nelielu meh\u0101nisku boj\u0101jumu \u2014 redzams fotogr\u0101fij\u0101s. Melna marmora virsma ar dab\u012bgiem \u017eilbu vijumiem, bez l\u016bzumiem. Iek\u0161puse \u2014 ar plauktu, funkcion\u0101la. Durvis atveramas. Lietas st\u0101voklis piln\u012bb\u0101 atspogu\u013cots fotogr\u0101fij\u0101s.<\/strong><\/p>\n \u2015\u2015\u2015\u2015\u2015\u2015\u2015\u2015\u2015\u2015\u2015\u2015\u2015\u2015\u2015\u2015\u2015\u2015\u2015\u2015\u2015<\/p>\n \ud83c\uddec\ud83c\udde7 DESCRIPTION IN ENGLISH<\/strong><\/p>\n \u2015\u2015\u2015\u2015\u2015\u2015\u2015\u2015\u2015\u2015\u2015\u2015\u2015\u2015\u2015\u2015\u2015\u2015\u2015\u2015\u2015<\/p>\n \ud83d\udcd0 DIMENSIONS<\/strong><\/p>\n Height: 100 cm \u00d7 Width: 160 cm \u00d7 Depth: 61 cm. Weight: extremely heavy (solid wood, bronze, marble).<\/p>\n \u2015\u2015\u2015\u2015\u2015\u2015\u2015\u2015\u2015\u2015\u2015\u2015\u2015\u2015\u2015\u2015\u2015\u2015\u2015\u2015\u2015<\/p>\n \u2015\u2015\u2015\u2015\u2015\u2015\u2015\u2015\u2015\u2015\u2015\u2015\u2015\u2015\u2015\u2015\u2015\u2015\u2015\u2015\u2015<\/p>\n \ud83c\udfdb\ufe0f PERIOD, ARTISTIC STYLE, ERA<\/strong><\/p>\n This monumental commode is one of the most impressive examples of the synthesis of Louis XIV<\/strong> and Second Empire<\/strong> styles possible in the highest-class cabinetmaking of 19th-century<\/strong> Europe. Its artistic vocabulary directly references Andr\u00e9-Charles Boulle<\/strong> \u2014 Louis XIV<\/strong>‘s court \u00e9b\u00e9niste<\/em>, who in the 17th century developed techniques that would become the supreme symbol of French furniture art. In the Boulle<\/em> tradition, bronze appliqu\u00e9<\/em> mounts are applied to a dark wood ground \u2014 mahogany or rosewood \u2014 creating a dense, almost tapisserie<\/em> effect in which every square centimetre is ornamented.<\/p>\n The fa\u00e7ade of this commode is dominated by a monumental semicircular tympanon<\/em> with a central bronze m\u00e9daillon<\/em> \u2014 a mythological scene with figures in a pastoral landscape. The interior of the arch is filled with a dense acanthus<\/em>, floral and leaf appliqu\u00e9<\/em> scroll. The upper frieze features a rinceau<\/em> scroll in bronze with a godrons<\/em> moulding. The corners are dressed with full bronze columns with cannelures<\/em> and ormolu<\/em> capitals. The sides carry vertical bronze baguette<\/em> scrolls. The lower section features swagged<\/em> bronze guirlandes<\/em>. The legs are conical with ormolu<\/em> leaf sabots<\/em>. The central mascaron<\/em> above the door division \u2014 a lion’s head with mane \u2014 is the supreme element of Empire<\/strong> iconography. The marble top \u2014 black with white veining, consistent with Nero Marquina<\/em> or similar \u2014 lends the upper surface absolute representative authority.<\/p>\n The piece is dateable to approximately 1860\u20131880<\/strong> \u2014 on the eve and at the dawn of the Belle \u00c9poque<\/strong>, when Napoleon III<\/strong>‘s Second Empire<\/em> Paris was the world centre of elegance.<\/p>\n Belle \u00c9poque snapshot:<\/em> In 1867, Napoleon III<\/strong> received the monarchs of Europe at the Tuileries Palace \u2014 among them Tsar Alexander II of Russia<\/strong> and King Wilhelm I of Prussia<\/strong>. The sideboards and commodes of the reception rooms were exactly of this type \u2014 with bronze m\u00e9daillons<\/em> and black marble tops \u2014 serving as a visual argument for France’s cultural supremacy over Europe. This commode may well have belonged to that same world of diplomatic representation.<\/p>\n \u2015\u2015\u2015\u2015\u2015\u2015\u2015\u2015\u2015\u2015\u2015\u2015\u2015\u2015\u2015\u2015\u2015\u2015\u2015\u2015\u2015<\/p>\n \u269c\ufe0f MAKER AND MANUFACTORY MARK<\/strong><\/p>\n No visible maker’s mark is present. Based on the density of the bronze appliqu\u00e9<\/em> work, the plasticity of the m\u00e9daillon<\/em> and the quality of the column ormolu<\/em> capitals, the piece originates from a high-class Parisian<\/strong> \u00e9b\u00e9niste<\/em> workshop specialising in Boulle<\/strong> style furniture. In the second half of the 19th century<\/strong>, the leading producers of such commodes in Paris included firms such as Beurdeley<\/strong>, Groh\u00e9<\/strong> and Zwiener<\/strong> \u2014 representatives of the highest \u00e9b\u00e9nisterie<\/em> level, whose works entered the collections of European royal courts. The mythological scene with amorini in a pastoral landscape on the bronze m\u00e9daillon<\/em> is a characteristic element of the Beurdeley<\/strong> or Linke<\/strong> style.<\/p>\n \u2015\u2015\u2015\u2015\u2015\u2015\u2015\u2015\u2015\u2015\u2015\u2015\u2015\u2015\u2015\u2015\u2015\u2015\u2015\u2015\u2015<\/p>\n \ud83d\udc8e RARITY AND SIGNIFICANCE<\/strong><\/p>\n A monumental Boulle<\/strong> style commode of this scale \u2014 160 cm in width \u2014 with a fully preserved bronze appliqu\u00e9<\/em> fa\u00e7ade, m\u00e9daillon<\/em>, lion mascaron<\/em> and original black marble top is an exceptionally rare find on the antiques market. Large-format commodes of this type were produced in small numbers \u2014 they were intended for palaces and the residences of the highest social circles. In the world of collectors and museums, large-format Boulle<\/strong> style pieces with mythological m\u00e9daillons<\/em> belong to the highest price category.<\/p>\n \u2015\u2015\u2015\u2015\u2015\u2015\u2015\u2015\u2015\u2015\u2015\u2015\u2015\u2015\u2015\u2015\u2015\u2015\u2015\u2015\u2015<\/p>\n \ud83d\udd6f\ufe0f USE IN INTERIOR, DESIGN AND PHOTOGRAPHY<\/strong><\/p>\n This commode was created for representative salon<\/strong>, dining room<\/strong> or vestibule<\/strong> interiors. Its 160 cm width and black marble top make it ideal as a sideboard or display surface for art objects, lamps or porcelain. It harmonises with Louis XIV<\/strong>, Second Empire<\/strong>, Neo-Baroque<\/strong> and grand palais<\/em> interiors. In interior photography \u2014 an absolute 19th-century Parisian grand salon<\/strong> accent. In luxury hotel, gallery and palace-style residential furnishing it is one of the dominant pieces.<\/p>\n \u2015\u2015\u2015\u2015\u2015\u2015\u2015\u2015\u2015\u2015\u2015\u2015\u2015\u2015\u2015\u2015\u2015\u2015\u2015\u2015\u2015<\/p>\n \ud83c\udf81 GIFT AND PERSONALISATION<\/strong><\/p>\n The scale and artistic intensity of this commode make it an outstanding acquisition<\/strong> for the highest-level collections, luxury residences and institutional interiors. It expresses not only taste but a deep understanding of European cultural history. In astrological symbolism \u2014 Leo<\/strong>, Scorpio<\/strong> and Capricorn<\/strong> \u2014 personalities with a dramatic, monumental aesthetic vision.<\/p>\n \u2015\u2015\u2015\u2015\u2015\u2015\u2015\u2015\u2015\u2015\u2015\u2015\u2015\u2015\u2015\u2015\u2015\u2015\u2015\u2015\u2015<\/p>\n \ud83d\udd0d CONDITION<\/strong><\/p>\n The commode is in good overall condition considering its age and scale. The bronze appliqu\u00e9<\/em> fa\u00e7ade is largely intact \u2014 natural oxidation and patina are visible in places, which lend authenticity. Certain bronze details on the sides show minor mechanical damage \u2014 visible in the photographs. The black marble top retains its natural vein patterns, with no breaks. The interior is functional, fitted with a shelf. The doors open correctly. The condition of the item is fully reflected in the photographs.<\/strong><\/p>\n \u2015\u2015\u2015\u2015\u2015\u2015\u2015\u2015\u2015\u2015\u2015\u2015\u2015\u2015\u2015\u2015\u2015\u2015\u2015\u2015\u2015<\/p>\n \ud83c\uddf7\ud83c\uddfa \u041e\u041f\u0418\u0421\u0410\u041d\u0418\u0415 \u041d\u0410 \u0420\u0423\u0421\u0421\u041a\u041e\u041c<\/strong><\/p>\n \u2015\u2015\u2015\u2015\u2015\u2015\u2015\u2015\u2015\u2015\u2015\u2015\u2015\u2015\u2015\u2015\u2015\u2015\u2015\u2015\u2015<\/p>\n \ud83d\udcd0 \u0420\u0430\u0437\u043c\u0435\u0440\u044b:<\/strong> \u0412\u044b\u0441\u043e\u0442\u0430: 100 \u0441\u043c \u00d7 \u0428\u0438\u0440\u0438\u043d\u0430: 160 \u0441\u043c \u00d7 \u0413\u043b\u0443\u0431\u0438\u043d\u0430: 61 \u0441\u043c. \u041e\u0447\u0435\u043d\u044c \u0442\u044f\u0436\u0451\u043b\u044b\u0439 (\u043c\u0430\u0441\u0441\u0438\u0432 \u0434\u0435\u0440\u0435\u0432\u0430, \u0431\u0440\u043e\u043d\u0437\u0430, \u043c\u0440\u0430\u043c\u043e\u0440).<\/p>\n \u041c\u043e\u043d\u0443\u043c\u0435\u043d\u0442\u0430\u043b\u044c\u043d\u044b\u0439 \u043a\u043e\u043c\u043e\u0434 \u0441 \u0431\u0440\u043e\u043d\u0437\u043e\u0432\u044b\u043c\u0438 \u043d\u0430\u043a\u043b\u0430\u0434\u043a\u0430\u043c\u0438 \u0432 \u0441\u0442\u0438\u043b\u0435 \u0411\u0443\u043b\u044c \u0438 \u0447\u0451\u0440\u043d\u043e\u0439 \u043c\u0440\u0430\u043c\u043e\u0440\u043d\u043e\u0439 \u0441\u0442\u043e\u043b\u0435\u0448\u043d\u0438\u0446\u0435\u0439 \u2014 \u0441\u0442\u0438\u043b\u044c \u041b\u044e\u0434\u043e\u0432\u0438\u043a\u0430 XIV \/ \u0412\u0442\u043e\u0440\u043e\u0439 \u0438\u043c\u043f\u0435\u0440\u0438\u0438, \u0424\u0440\u0430\u043d\u0446\u0438\u044f, \u043e\u043a\u043e\u043b\u043e 1860\u20131880 \u0433\u0433.<\/strong><\/p>\n \u042d\u0442\u043e\u0442 \u043c\u043e\u043d\u0443\u043c\u0435\u043d\u0442\u0430\u043b\u044c\u043d\u044b\u0439 \u043a\u043e\u043c\u043e\u0434 \u2014 \u0432\u044b\u0434\u0430\u044e\u0449\u0438\u0439\u0441\u044f \u043e\u0431\u0440\u0430\u0437\u0435\u0446 \u0441\u0438\u043d\u0442\u0435\u0437\u0430 \u0441\u0442\u0438\u043b\u0435\u0439 \u041b\u044e\u0434\u043e\u0432\u0438\u043a\u0430 XIV<\/strong> \u0438 \u0412\u0442\u043e\u0440\u043e\u0439 \u0438\u043c\u043f\u0435\u0440\u0438\u0438<\/strong>, \u0441\u043e\u0437\u0434\u0430\u043d\u043d\u044b\u0439 \u0432 \u0442\u0440\u0430\u0434\u0438\u0446\u0438\u0438 \u0410\u043d\u0434\u0440\u0435-\u0428\u0430\u0440\u043b\u044f \u0411\u0443\u043b\u044f<\/strong> \u2014 \u043f\u0440\u0438\u0434\u0432\u043e\u0440\u043d\u043e\u0433\u043e \u00e9b\u00e9niste<\/em> \u041b\u044e\u0434\u043e\u0432\u0438\u043a\u0430 XIV, \u043e\u0441\u043d\u043e\u0432\u0430\u0442\u0435\u043b\u044f \u0442\u0435\u0445\u043d\u0438\u043a\u0438 \u043f\u043b\u043e\u0442\u043d\u044b\u0445 \u0431\u0440\u043e\u043d\u0437\u043e\u0432\u044b\u0445 appliqu\u00e9<\/em> \u043d\u0430 \u0442\u0451\u043c\u043d\u043e\u043c \u0434\u0435\u0440\u0435\u0432\u0435. \u0424\u0430\u0441\u0430\u0434 \u0443\u043a\u0440\u0430\u0448\u0435\u043d \u043f\u043e\u043b\u0443\u0430\u0440\u043e\u0447\u043d\u044b\u043c \u0442\u0438\u043c\u043f\u0430\u043d\u043e\u043c<\/em> \u0441 \u0446\u0435\u043d\u0442\u0440\u0430\u043b\u044c\u043d\u044b\u043c \u0431\u0440\u043e\u043d\u0437\u043e\u0432\u044b\u043c m\u00e9daillon<\/em> \u2014 \u043c\u0438\u0444\u043e\u043b\u043e\u0433\u0438\u0447\u0435\u0441\u043a\u043e\u0439 \u0441\u0446\u0435\u043d\u043e\u0439 \u0441 \u0444\u0438\u0433\u0443\u0440\u0430\u043c\u0438 \u0432 \u043f\u0430\u0441\u0442\u043e\u0440\u0430\u043b\u044c\u043d\u043e\u043c \u043f\u0435\u0439\u0437\u0430\u0436\u0435. \u041f\u043e\u043b\u0443\u0430\u0440\u043a\u0430 \u0437\u0430\u043f\u043e\u043b\u043d\u0435\u043d\u0430 \u0433\u0443\u0441\u0442\u044b\u043c acanthus<\/em> \u0438 \u0446\u0432\u0435\u0442\u043e\u0447\u043d\u044b\u043c\u0438 \u0431\u0440\u043e\u043d\u0437\u043e\u0432\u044b\u043c\u0438 \u0437\u0430\u0432\u0438\u0442\u043a\u0430\u043c\u0438. \u0423\u0433\u043b\u043e\u0432\u044b\u0435 \u043a\u043e\u043b\u043e\u043d\u043d\u044b \u0441 cannelures<\/em> \u0438 ormolu<\/em>-\u043a\u0430\u043f\u0438\u0442\u0435\u043b\u044f\u043c\u0438, \u0446\u0435\u043d\u0442\u0440\u0430\u043b\u044c\u043d\u0430\u044f \u043c\u0430\u0441\u043a\u0430 \u043b\u044c\u0432\u0430 \u043d\u0430\u0434 \u0434\u0432\u0435\u0440\u043d\u044b\u043c \u0440\u0430\u0437\u0434\u0435\u043b\u043e\u043c, \u0433\u0438\u0440\u043b\u044f\u043d\u0434\u044b \u0443 \u043e\u0441\u043d\u043e\u0432\u0430\u043d\u0438\u044f \u2014 \u0432\u0441\u0451 \u0432\u044b\u043f\u043e\u043b\u043d\u0435\u043d\u043e \u0441 \u0438\u0441\u043a\u043b\u044e\u0447\u0438\u0442\u0435\u043b\u044c\u043d\u044b\u043c \u043c\u0430\u0441\u0442\u0435\u0440\u0441\u0442\u0432\u043e\u043c. \u0421\u0442\u043e\u043b\u0435\u0448\u043d\u0438\u0446\u0430 \u0438\u0437 \u0447\u0451\u0440\u043d\u043e\u0433\u043e \u043c\u0440\u0430\u043c\u043e\u0440\u0430 \u0441 \u0431\u0435\u043b\u044b\u043c\u0438 \u043f\u0440\u043e\u0436\u0438\u043b\u043a\u0430\u043c\u0438 (Nero Marquina<\/em> \u0438\u043b\u0438 \u0430\u043d\u0430\u043b\u043e\u0433) \u0441\u043e\u0437\u0434\u0430\u0451\u0442 \u0430\u0431\u0441\u043e\u043b\u044e\u0442\u043d\u044b\u0439 \u043a\u043e\u043d\u0442\u0440\u0430\u0441\u0442 \u0441 \u043f\u043e\u0437\u043e\u043b\u043e\u0447\u0435\u043d\u043d\u043e\u0439 \u0431\u0440\u043e\u043d\u0437\u043e\u0439.<\/p>\n \u0412 1867 \u0433\u043e\u0434\u0443 \u041d\u0430\u043f\u043e\u043b\u0435\u043e\u043d III<\/strong> \u043f\u0440\u0438\u043d\u0438\u043c\u0430\u043b \u0435\u0432\u0440\u043e\u043f\u0435\u0439\u0441\u043a\u0438\u0445 \u043c\u043e\u043d\u0430\u0440\u0445\u043e\u0432 \u0432 \u0422\u044e\u0438\u043b\u044c\u0440\u0438 \u2014 \u0431\u0443\u0444\u0435\u0442\u044b \u0438 \u043a\u043e\u043c\u043e\u0434\u044b \u043f\u0430\u0440\u0430\u0434\u043d\u044b\u0445 \u0437\u0430\u043b\u043e\u0432 \u0431\u044b\u043b\u0438 \u0438\u043c\u0435\u043d\u043d\u043e \u0442\u0430\u043a\u0438\u043c\u0438: \u0441 \u0431\u0440\u043e\u043d\u0437\u043e\u0432\u044b\u043c\u0438 \u043c\u0435\u0434\u0430\u043b\u044c\u043e\u043d\u0430\u043c\u0438 \u0438 \u0447\u0451\u0440\u043d\u044b\u043c \u043c\u0440\u0430\u043c\u043e\u0440\u043e\u043c. \u042d\u0442\u043e\u0442 \u043f\u0440\u0435\u0434\u043c\u0435\u0442 \u043c\u043e\u0433 \u043f\u0440\u0438\u043d\u0430\u0434\u043b\u0435\u0436\u0430\u0442\u044c \u0442\u043e\u043c\u0443 \u0436\u0435 \u043c\u0438\u0440\u0443 \u0434\u0438\u043f\u043b\u043e\u043c\u0430\u0442\u0438\u0447\u0435\u0441\u043a\u043e\u0433\u043e \u0432\u0435\u043b\u0438\u043a\u043e\u043b\u0435\u043f\u0438\u044f. \u041f\u0440\u043e\u0438\u0441\u0445\u043e\u0436\u0434\u0435\u043d\u0438\u0435: \u043f\u0440\u0435\u0434\u043f\u043e\u043b\u043e\u0436\u0438\u0442\u0435\u043b\u044c\u043d\u043e \u043c\u0430\u0441\u0442\u0435\u0440\u0441\u043a\u0430\u044f \u0432\u044b\u0441\u0448\u0435\u0433\u043e \u043a\u043b\u0430\u0441\u0441\u0430 \u0432 \u041f\u0430\u0440\u0438\u0436\u0435<\/strong> \u2014 \u0432\u043e\u0437\u043c\u043e\u0436\u043d\u043e, Beurdeley<\/strong>, Groh\u00e9<\/strong> \u0438\u043b\u0438 Zwiener<\/strong>. \u0421\u043e\u0441\u0442\u043e\u044f\u043d\u0438\u0435 \u0445\u043e\u0440\u043e\u0448\u0435\u0435, \u0441 \u0435\u0441\u0442\u0435\u0441\u0442\u0432\u0435\u043d\u043d\u043e\u0439 \u043f\u0430\u0442\u0438\u043d\u043e\u0439 \u0438 \u0441\u043b\u0435\u0434\u0430\u043c\u0438 \u0432\u0440\u0435\u043c\u0435\u043d\u0438. \u0421\u043e\u0441\u0442\u043e\u044f\u043d\u0438\u0435 \u043f\u0440\u0435\u0434\u043c\u0435\u0442\u0430 \u043f\u043e\u043b\u043d\u043e\u0441\u0442\u044c\u044e \u043e\u0442\u0440\u0430\u0436\u0435\u043d\u043e \u043d\u0430 \u0444\u043e\u0442\u043e\u0433\u0440\u0430\u0444\u0438\u044f\u0445.<\/p>\n \u2015\u2015\u2015\u2015\u2015\u2015\u2015\u2015\u2015\u2015\u2015\u2015\u2015\u2015\u2015\u2015\u2015\u2015\u2015\u2015\u2015<\/p>\n \ud83c\udde9\ud83c\uddea BESCHREIBUNG AUF DEUTSCH<\/strong><\/p>\n \u2015\u2015\u2015\u2015\u2015\u2015\u2015\u2015\u2015\u2015\u2015\u2015\u2015\u2015\u2015\u2015\u2015\u2015\u2015\u2015\u2015<\/p>\n \ud83d\udcd0 Ma\u00dfe:<\/strong> H\u00f6he: 100 cm \u00d7 Breite: 160 cm \u00d7 Tiefe: 61 cm. Au\u00dferordentlich schwer (Massivholz, Bronze, Marmor).<\/p>\n Monumentale Kommode mit Bronze-Boulle-Applikationen und schwarzer Marmorplatte \u2014 Stil Louis XIV \/ Second Empire, Frankreich, circa 1860\u20131880<\/strong><\/p>\n Diese monumentale Kommode ist ein herausragendes Beispiel der Synthese von Louis XIV<\/strong>– und Second Empire<\/strong>-Stil in der Tradition von Andr\u00e9-Charles Boulle<\/strong> \u2014 dem Hofschreiner Ludwigs XIV., der die Technik der dichten Bronzeapplikationen auf dunklem Holzgrund begr\u00fcndete. Die Fassade wird von einem halbkreisf\u00f6rmigen Tympanon<\/em> mit zentralem Bronze-M\u00e9daillon<\/em> dominiert \u2014 eine mythologische Szene mit Figuren in einer pastoralen Landschaft. Den Bogen f\u00fcllt ein dichtes Rankenwerk aus Acanthus<\/em> und Bl\u00fcten. Eckkolumnen mit Cannelures<\/em> und Ormolu<\/em>-Kapitellen, eine zentrale L\u00f6wenmaske \u00fcber der T\u00fcrteilung, Guirlanden<\/em> am Sockel \u2014 alles von aussergew\u00f6hnlicher handwerklicher Qualit\u00e4t. Die schwarze Marmorplatte mit weissen Adern (Nero Marquina<\/em> oder vergleichbar) verleiht dem St\u00fcck absolute Repr\u00e4sentativit\u00e4t.<\/p>\n Im Jahr 1867 empfing Napoleon III.<\/strong> die Monarchen Europas in den Tuilerien \u2014 die Anrichten und Kommoden der Empfangss\u00e4le waren genau von dieser Art. Herkunft: vermutlich eine Pariser \u00e9b\u00e9niste<\/em>-Werkstatt h\u00f6chster Klasse \u2014 m\u00f6glicherweise Beurdeley<\/strong>, Groh\u00e9<\/strong> oder Zwiener<\/strong>. Zustand gut, mit nat\u00fcrlicher Patina und Altersspuren. Der Zustand des Objekts ist vollst\u00e4ndig in den Fotografien dokumentiert.<\/p>\n \u2015\u2015\u2015\u2015\u2015\u2015\u2015\u2015\u2015\u2015\u2015\u2015\u2015\u2015\u2015\u2015\u2015\u2015\u2015\u2015\u2015<\/p>\n \ud83c\uddeb\ud83c\uddf7 DESCRIPTION EN FRAN\u00c7AIS<\/strong><\/p>\n \u2015\u2015\u2015\u2015\u2015\u2015\u2015\u2015\u2015\u2015\u2015\u2015\u2015\u2015\u2015\u2015\u2015\u2015\u2015\u2015\u2015<\/p>\n \ud83d\udcd0 Dimensions :<\/strong> Hauteur : 100 cm \u00d7 Largeur : 160 cm \u00d7 Profondeur : 61 cm. Extr\u00eamement lourd (bois massif, bronze, marbre).<\/p>\n Commode monumentale \u00e0 appliques de bronze style Boulle et plateau de marbre noir \u2014 style Louis XIV \/ Second Empire, France, circa 1860\u20131880<\/strong><\/p>\n Cette commode monumentale est un exemple remarquable de la synth\u00e8se des styles Louis XIV<\/strong> et Second Empire<\/strong>, cr\u00e9\u00e9e dans la pure tradition d’Andr\u00e9-Charles Boulle<\/strong> \u2014 l’\u00e9b\u00e9niste<\/em> attitr\u00e9 de Louis XIV, fondateur de la technique des appliques<\/em> de bronze dor\u00e9 sur fond de bois sombre. La fa\u00e7ade est domin\u00e9e par un tympan<\/em> en demi-cercle avec un m\u00e9daillon<\/em> central en bronze fondu \u2014 une sc\u00e8ne mythologique avec des figures dans un paysage pastoral. L’int\u00e9rieur de l’arc est rempli d’un r\u00e9seau dense d’acanthes<\/em>, de fleurs et de rinceaux en bronze. Colonnes d’angle \u00e0 cannelures<\/em> avec chapiteaux ormolu<\/em>, mascaron<\/em> central en t\u00eate de lion au-dessus de la division des portes, Monument\u0101la Kumode ar Bronzas Boulle<\/em> Inkrust\u0101cij\u0101m un Melna Marmora Virsmu \u2014 Luija XIV \/ Second Empire stils, Francija, ap 1860.\u20131880.<\/strong><\/h3>\n
Monumental Commode with Bronze Boulle Appliqu\u00e9s and Black Marble Top \u2014 Louis XIV \/ Second Empire Style, France, approximately 1860\u20131880<\/strong><\/h3>\n