{"id":18865,"date":"2023-07-03T08:20:22","date_gmt":"2023-07-03T05:20:22","guid":{"rendered":"https:\/\/server.id.lv\/?post_type=product&p=18865"},"modified":"2026-09-07T22:28:26","modified_gmt":"2026-09-07T19:28:26","slug":"4136","status":"publish","type":"product","link":"https:\/\/server.id.lv\/lv\/products\/4136\/","title":{"rendered":"Ant\u012bka Bomb\u00e9 Kumode ar Mascaron Bronzu un Marmora Virsmu \u2014 Luija XV, Francija, 18.gs. (4136)"},"content":{"rendered":"

IZM\u0112RI<\/strong><\/p>\n

Augstums: 81 cm \u00d7 Garums: 122 cm \u00d7 Dzi\u013cums: 59 cm. Svars: \u013coti smags (mas\u012bvs koks, bronza, marmors).<\/p>\n

Ant\u012bka Tr\u012bs Atvilkt\u0146u Bomb\u00e9<\/em> Kumode ar Parquetry<\/em> Furnieri, Bronzas Mascaron<\/em> Furnit\u016bru un Marmora Virsmu \u2014 Luija XV stils, Francija, ap 1740.\u20131770.<\/strong><\/h3>\n
IZGATAVO\u0160ANAS PERIODS, M\u0100KSLAS STILS, LAIKMETS<\/strong><\/p>\n
\u0160\u012b tr\u012bs atvilkt\u0146u bomb\u00e9<\/em> kumode ir viens no iespaid\u012bg\u0101kajiem Luija XV<\/strong> stila paraugiem, kas non\u0101cis sav\u0101 ori\u0123in\u0101laj\u0101, nerestaur\u0113taj\u0101 st\u0101vokl\u012b \u2014 ar autentisku sarkankoka parquetry<\/em> furnieri, mas\u012bv\u0101m bronzas mascaron<\/em> st\u016bra mont\u0101\u017e\u0101m un ori\u0123in\u0101lu, sare\u017e\u0123\u012bt\u0101 to\u0146u strukt\u016br\u0101 kr\u0101sotu marmora virsmu. Luija XV<\/strong> bomb\u00e9 commode<\/em> ar tr\u012bs atvilktn\u0113m \u2014 \u00e0 trois tiroirs<\/em> \u2014 bija 18. gadsimta<\/strong> fran\u010du galdniec\u012bbas augst\u0101k\u0101s klases sasniegums, un tie\u0161i \u0161\u0101da konstrukt\u012bv\u0101 forma ar izteiktu s\u0101nu un priek\u0161puses izliekumu ir rakstur\u012bga 1740.\u20131760.<\/strong> gadu Par\u012bzes \u00e9b\u00e9nistes<\/em> darbiem.<\/p>\n
Fas\u0101des parquetry<\/em> \u2014 sarkankoka un gai\u0161\u0101kas koksnes rombu un dimantu raksts \u2014 ir veikts ar augstu precizit\u0101ti. Katras atvilktnes rokturu appliqu\u00e9s<\/em> ir mas\u012bvi lieti bronz\u0101 ar rocaille<\/em> lapu mot\u012bviem. St\u016bra mascaron<\/em> mont\u0101\u017eas \u2014 ar sievie\u0161u seju un lapu vainaga ikonografiju \u2014 ir lieliskas plastiskuma un deta\u013cu zi\u0146\u0101, rakstur\u012bgas augst\u0101k\u0101 l\u012bme\u0146a Par\u012bzes<\/strong> fondeur-ciseleur<\/em> darbam. Lejasda\u013cas tablier<\/em> ar centr\u0101lo rocaille cartouche<\/em> un k\u0101ju sabots<\/em> ar lapu ornamentu nosl\u0113dz kompoz\u012bciju klasisk\u0101 Luija XV<\/strong> proporcion\u0101laj\u0101 valod\u0101. Marmora virsma \u2014 pel\u0113ks ar sarkaniem un baltiem \u017eilbu vijumiem, iesp\u0113jams Griotte de Flandre<\/em> vai Lumachelle<\/em> tipa marmors \u2014 ir \u0101rk\u0101rt\u012bgi rakstur\u012bga tie\u0161i 18. gadsimta<\/strong> Francijas augst\u0101k\u0101s klases kumodu virsm\u0101m.<\/p>\n
\u0160\u012b kumode dat\u0113jama ar aptuveni 1740.\u20131770.<\/strong> gadu \u2014 \u012bsto Luija XV<\/strong> stila ziedu laiku, pirms Belle \u00c9poque<\/strong> un pirms Neoklasicisma<\/strong> revol\u016bcijas, kad Par\u012bzes \u00e9b\u00e9nistes<\/em> rad\u012bja formas, kas v\u0113l\u0101k k\u013cuva par visu Eiropas galdniec\u012bbas trad\u012bciju pamatu.<\/p>\n
Belle \u00c9poque momentuz\u0146\u0113mums:<\/em> Kad 1882. gad\u0101 Edmond de Goncourt<\/strong> Par\u012bz\u0113 organiz\u0113ja savu slaveno kolekcijas izsoli, tie\u0161i \u0161\u0101da veida Luija XV<\/strong> bomb\u00e9<\/em> kumodes ar mascaron<\/em> st\u016bra mont\u0101\u017e\u0101m sasniedza rekordcenas \u2014 un kriti\u0137i rakst\u012bja, ka “18. gadsimta fran\u010du \u00e9b\u00e9nisterie<\/em> ir nesasniedzama virsotne, pie kuras Belle \u00c9poque<\/strong> meistari tikai tuvojas.” \u0160\u012b kumode past\u0101v\u0113ja jau tobr\u012bd \u2014 varb\u016bt k\u0101d\u0101 Par\u012bzes h\u00f4tel particulier<\/em> salon\u0101, varb\u016bt Flandrijas pil\u012b, kur t\u0101s marmors ieguva pirmo patinu.<\/p>\n
RA\u017dOT\u0100JS UN MANUFAKT\u016aRAS Z\u012aMOGS<\/strong><\/p>\n
Redzama mar\u0137\u0113juma nav \u2014 rakstur\u012bga par\u0101d\u012bba 18. gadsimta<\/strong> pirm\u0101s puses Par\u012bzes \u00e9b\u00e9nistes<\/em> darbiem, kuri nemar\u0137\u0113ja produkciju pirms 1743. gada<\/strong> oblig\u0101t\u0101 \u0123ildes estampille<\/em> noteikuma ievie\u0161anas. P\u0113c mascaron<\/em> bronzas plastiskuma, parquetry<\/em> izpild\u012bjuma un bomb\u00e9<\/em> formas proporcij\u0101m \u2014 lieta atbilst Par\u012bzes<\/strong> augst\u0101k\u0101s klases \u00e9b\u00e9niste<\/em> darbn\u012bcas stilistikai, iesp\u0113jams tuva t\u0101diem meistariem k\u0101 Pierre Migeon II<\/strong> vai Jacques Dubois<\/strong>, kuri specializ\u0113j\u0101s tie\u0161i \u0161\u0101da veida bomb\u00e9<\/em> konstrukt\u012bvaj\u0101s form\u0101s ar rocaille<\/em> bronzas furnit\u016bru. Marmora virsma un bronzas to\u0146i nor\u0101da uz ori\u0123in\u0101l\u0101 st\u0101vok\u013ca saglab\u0101\u0161anos \u2014 bez v\u0113l\u0101kiem aizst\u0101jumiem.<\/p>\n
RETUMS UN NOZ\u012aME<\/strong><\/p>\n
Autentiska Luija XV<\/strong> perioda bomb\u00e9<\/em> kumode ar tr\u012bs atvilktn\u0113m, ori\u0123in\u0101liem mascaron<\/em> st\u016bra mounts<\/em>, parquetry<\/em> furnieri un ori\u0123in\u0101lu marmora virsmu nerestaur\u0113t\u0101 st\u0101vokl\u012b ir \u0101rk\u0101rt\u012bgi reta par\u0101d\u012bba jebkur\u0101 antikv\u0101ru tirg\u016b. Liel\u0101kajai da\u013cai 18. gadsimta<\/strong> komodu vai nu ir aizst\u0101ta marmora virsma, vai nomain\u012bta bronzas furnit\u016bra, vai veiktas koka restaur\u0101cijas. \u0160\u012bs kumodes autentiskums \u2014 ar vis\u0101m vecuma p\u0113d\u0101m \u2014 padara to par muzeja kategorijas kolekcijas lietu. Luija XV<\/strong> tr\u012bs atvilkt\u0146u bomb\u00e9<\/em> kumode ar mascaron<\/em> mont\u0101\u017e\u0101m pieder pie augst\u0101k\u0101s piepras\u012bjuma kategorijas starptautiskajos izsoles namos.<\/p>\n
PIELIETOJUMS INTERJER\u0100, DIZAIN\u0100 UN FOTOGR\u0100FIJ\u0100<\/strong><\/p>\n
\u0160\u012b kumode ir rad\u012bta reprezentat\u012bviem gu\u013camistabas<\/strong>, salona<\/strong> vai kabineta<\/strong> interjeriem. T\u0101s 122 cm garums un bomb\u00e9<\/em> siluets padara to par vizu\u0101li domin\u0113jo\u0161u lietu jebkur\u0101 telp\u0101. Sader ar Luija XV<\/strong>, Luija XVI<\/strong>, Second Empire<\/strong> un eklektiskiem interjeriem. Virs t\u0101s dab\u012bgi ievieto spoguli, gleznojumu vai bronzas skulpt\u016bru. Interjeru fotogr\u0101fij\u0101 un editorial<\/em> uz\u0146\u0113mumos \u2014 nep\u0101rprotams 18. gadsimta Par\u012bzes grand salon<\/strong> akcents. Ar\u012b nerestaur\u0113t\u0101, patin\u0113t\u0101 st\u0101vokl\u012b t\u0101 izskat\u0101s k\u0101 muzeja ekspon\u0101ts.<\/p>\n
D\u0100VANA UN PERSONALIZ\u0100CIJA<\/strong><\/p>\n
\u0160\u012bs kumodes m\u0101ksliniecisk\u0101 v\u0113rt\u012bba un v\u0113sturisk\u0101 autentiskums padara to par izcilu ieg\u0101di<\/strong> augst\u0101k\u0101 l\u012bme\u0146a kolekcij\u0101m un luksusa rezidenc\u0113m. T\u0101 izsaka ne tikai gaumi, bet ar\u012b dzi\u013cu izpratni par 18. gadsimta<\/strong> Francijas kult\u016brv\u0113sturi. Zvaigzn\u0101ju simbolik\u0101 \u2014 Svari<\/strong>, V\u0113rsis<\/strong> un Lauva<\/strong> \u2014 personas ar izsmalcin\u0101tu est\u0113tiku un m\u012blest\u012bbu pret autentiskiem v\u0113stures objektiem.<\/p>\n
ST\u0100VOKLIS<\/strong><\/p>\n
Kumode ir autentisk\u0101, nerestaur\u0113t\u0101 st\u0101vokl\u012b ar bag\u0101t\u012bgu vecuma patinu. Parquetry<\/em> furnieri ar redzam\u0101m vecuma \u0161uv\u0113m un atsevi\u0161\u0137iem s\u012bkiem plais\u0101jumiem \u2014 norm\u0101la par\u0101d\u012bba 18. gadsimta<\/strong> koksnes kust\u012bbai. S\u0101nu pane\u013ci ar noz\u012bm\u012bg\u0101k\u0101m skr\u0101p\u0113juma p\u0113d\u0101m \u2014 redzamas fotogr\u0101fij\u0101s un god\u012bgi atspogu\u013co lietas vecumu. Bronzas furnit\u016bra ar tum\u0161u oksid\u0101cijas patinu. Marmora virsma ar dab\u012bgiem \u017eilbu vijumiem un atsevi\u0161\u0137\u0101m skr\u0101p\u0113juma p\u0113d\u0101m. Kumode ir strukt\u016br\u0101li stabila. Restaur\u0101cija uzlabotu izskatu, bet nav oblig\u0101ta \u2014 patina ir da\u013ca no autentiskuma. 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
DIMENSIONS<\/strong><\/p>\n
Height: 81 cm \u00d7 Length: 122 cm \u00d7 Depth: 59 cm. Weight: very heavy (solid wood, bronze, marble).<\/p>\n
Antique Three-Drawer Bomb\u00e9<\/em> Commode with Parquetry<\/em> Veneer, Bronze Mascaron<\/em> Mounts and Marble Top \u2014 Louis XV Style, France, approximately 1740\u20131770<\/strong><\/h3>\n
PERIOD, ARTISTIC STYLE, ERA<\/strong><\/p>\n
This three-drawer bomb\u00e9<\/em> commode is one of the most impressive examples of the Louis XV<\/strong> style to have survived in its original, unrestored condition \u2014 with authentic rosewood parquetry<\/em> veneer, massive bronze mascaron<\/em> corner mounts and an original marble top of complex tonal structure. The Louis XV<\/strong> bomb\u00e9 commode \u00e0 trois tiroirs<\/em> was the supreme achievement of 18th-century<\/strong> French cabinetmaking, and this constructive form \u2014 with its pronounced lateral and frontal swelling \u2014 is characteristic of Parisian \u00e9b\u00e9niste<\/em> work of approximately 1740\u20131760<\/strong>.<\/p>\n
The fa\u00e7ade parquetry<\/em> \u2014 a rosewood and lighter wood diamond and lozenge pattern \u2014 is executed with high precision. The drawer handle appliqu\u00e9s<\/em> are massively cast in bronze with rocaille<\/em> leaf motifs. The corner mascaron<\/em> mounts \u2014 depicting female faces with foliate crown iconography \u2014 are outstanding in plasticity and detail, characteristic of the finest Parisian<\/strong> fondeur-ciseleur<\/em> work. The lower tablier<\/em> with its central rocaille cartouche<\/em> and the leaf-ornamented leg sabots<\/em> complete the composition in the classical Louis XV<\/strong> proportional vocabulary. The marble top \u2014 grey with red and white vein patterns, consistent with Griotte de Flandre<\/em> or Lumachelle<\/em> type marble \u2014 is exceptionally characteristic of 18th-century<\/strong> French highest-class commode tops.<\/p>\n
This commode is dateable to approximately 1740\u20131770<\/strong> \u2014 the true flowering of the Louis XV<\/strong> style, before the Belle \u00c9poque<\/strong> and before the Neoclassical<\/strong> revolution, when Parisian \u00e9b\u00e9nistes<\/em> were creating the forms that would later become the foundation of the entire European cabinetmaking tradition.<\/p>\n
Belle \u00c9poque snapshot:<\/em> When Edmond de Goncourt<\/strong> organised his celebrated collection sale in Paris in 1882, it was exactly this type of Louis XV<\/strong> bomb\u00e9<\/em> commode with mascaron<\/em> corner mounts that achieved record prices \u2014 and critics wrote that “18th-century French \u00e9b\u00e9nisterie<\/em> is an unattainable summit that Belle \u00c9poque<\/strong> masters can only approach.” This commode already existed at that moment \u2014 perhaps in a Parisian h\u00f4tel particulier<\/em> salon, perhaps in a Flemish ch\u00e2teau where its marble acquired its first patina.<\/p>\n
MAKER AND MANUFACTORY MARK<\/strong><\/p>\n
No visible maker’s mark is present \u2014 a characteristic feature of Parisian \u00e9b\u00e9nistes<\/em> working in the first half of the 18th century<\/strong>, who did not mark their production before the introduction of the compulsory guild estampille<\/em> regulation in 1743<\/strong>. Based on the plasticity of the mascaron<\/em> bronzework, the execution of the parquetry<\/em> and the proportions of the bomb\u00e9<\/em> form, the piece corresponds to the stylistic vocabulary of the highest-class Parisian<\/strong> \u00e9b\u00e9niste<\/em> workshop \u2014 possibly in the manner of Pierre Migeon II<\/strong> or Jacques Dubois<\/strong>, who specialised in exactly this type of bomb\u00e9<\/em> constructive form with rocaille<\/em> bronze hardware. The marble top and bronze tones indicate original condition \u2014 without later replacements.<\/p>\n
RARITY AND SIGNIFICANCE<\/strong><\/p>\n
An authentic Louis XV<\/strong> period bomb\u00e9<\/em> commode with three drawers, original mascaron<\/em> corner mounts, parquetry<\/em> veneer and an original marble top in unrestored condition is an exceptionally rare find in any antiques market. The majority of 18th-century<\/strong> commodes have either a replacement marble top, replaced bronze hardware or wood restoration. The authenticity of this piece \u2014 with all its age marks \u2014 places it in the museum-category collection tier. A Louis XV<\/strong> three-drawer bomb\u00e9<\/em> commode with mascaron<\/em> mounts belongs to the highest demand category in international auction houses.<\/p>\n
USE IN INTERIOR, DESIGN AND PHOTOGRAPHY<\/strong><\/p>\n
This commode was created for representative bedroom<\/strong>, salon<\/strong> or study<\/strong> interiors. Its 122 cm length and bomb\u00e9<\/em> silhouette make it the visually dominant piece in any room. It harmonises with Louis XV<\/strong>, Louis XVI<\/strong>, Second Empire<\/strong> and eclectic interiors. A mirror, painting or bronze sculpture naturally sits above it. In interior photography and editorial<\/em> shoots \u2014 an unmistakable 18th-century Parisian grand salon<\/strong> accent. Even in its unrestored, patinated condition it reads as a museum exhibit.<\/p>\n
GIFT AND PERSONALISATION<\/strong><\/p>\n
The artistic value and historical authenticity of this commode make it an outstanding acquisition<\/strong> for the highest-level collections and luxury residences. It expresses not only taste but a deep understanding of 18th-century<\/strong> French cultural history. In astrological symbolism \u2014 Libra<\/strong>, Taurus<\/strong> and Leo<\/strong> \u2014 personalities of refined aesthetic sensibility and a love of authentic historical objects.<\/p>\n
CONDITION<\/strong><\/p>\n
The commode is in authentic, unrestored condition with rich age patina. The parquetry<\/em> veneer shows visible age seams and minor cracks \u2014 a normal consequence of 18th-century<\/strong> wood movement. The side panels carry more significant surface marks \u2014 visible in the photographs and honestly reflecting the piece’s age. The bronze hardware displays a dark oxidation patina. The marble top retains its natural vein patterns with minor surface marks. The commode is structurally stable. Restoration would improve the appearance but is not obligatory \u2014 the patina is part of the authenticity. 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
\u0420\u0430\u0437\u043c\u0435\u0440\u044b:<\/strong> \u0412\u044b\u0441\u043e\u0442\u0430: 81 \u0441\u043c \u00d7 \u0414\u043b\u0438\u043d\u0430: 122 \u0441\u043c \u00d7 \u0413\u043b\u0443\u0431\u0438\u043d\u0430: 59 \u0441\u043c. \u041e\u0447\u0435\u043d\u044c \u0442\u044f\u0436\u0451\u043b\u044b\u0439 (\u043c\u0430\u0441\u0441\u0438\u0432\u043d\u043e\u0435 \u0434\u0435\u0440\u0435\u0432\u043e, \u0431\u0440\u043e\u043d\u0437\u0430, \u043c\u0440\u0430\u043c\u043e\u0440).<\/p>\n
\u0410\u043d\u0442\u0438\u043a\u0432\u0430\u0440\u043d\u044b\u0439 \u043a\u043e\u043c\u043e\u0434 bomb\u00e9<\/em> \u0441 \u0442\u0440\u0435\u043c\u044f \u044f\u0449\u0438\u043a\u0430\u043c\u0438, \u043f\u0430\u0440\u043a\u0435\u0442\u043d\u044b\u043c \u0448\u043f\u043e\u043d\u043e\u043c, \u0431\u0440\u043e\u043d\u0437\u043e\u0432\u044b\u043c\u0438 mascaron<\/em> \u0438 \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 XV, \u0424\u0440\u0430\u043d\u0446\u0438\u044f, \u043e\u043a\u043e\u043b\u043e 1740\u20131770 \u0433\u0433.<\/strong><\/p>\n
\u042d\u0442\u043e\u0442 \u0442\u0440\u0451\u0445\u044f\u0449\u0438\u0447\u043d\u044b\u0439 \u043a\u043e\u043c\u043e\u0434 bomb\u00e9<\/em> \u2014 \u043e\u0434\u0438\u043d \u0438\u0437 \u043d\u0430\u0438\u0431\u043e\u043b\u0435\u0435 \u0432\u043f\u0435\u0447\u0430\u0442\u043b\u044f\u044e\u0449\u0438\u0445 \u043e\u0431\u0440\u0430\u0437\u0446\u043e\u0432 \u0441\u0442\u0438\u043b\u044f \u041b\u044e\u0434\u043e\u0432\u0438\u043a\u0430 XV<\/strong>, \u0441\u043e\u0445\u0440\u0430\u043d\u0438\u0432\u0448\u0438\u0445\u0441\u044f \u0432 \u043f\u043e\u0434\u043b\u0438\u043d\u043d\u043e\u043c, \u043d\u0435\u0440\u0435\u0441\u0442\u0430\u0432\u0440\u0438\u0440\u043e\u0432\u0430\u043d\u043d\u043e\u043c \u0441\u043e\u0441\u0442\u043e\u044f\u043d\u0438\u0438. \u0424\u0430\u0441\u0430\u0434 \u043e\u0431\u043b\u0438\u0446\u043e\u0432\u0430\u043d \u043f\u0430\u0440\u043a\u0435\u0442\u043d\u044b\u043c \u0448\u043f\u043e\u043d\u043e\u043c \u0438\u0437 \u043f\u0430\u043b\u0438\u0441\u0430\u043d\u0434\u0440\u0430 \u0441 \u0443\u0437\u043e\u0440\u043e\u043c \u0432 \u0432\u0438\u0434\u0435 \u0440\u043e\u043c\u0431\u043e\u0432. \u041c\u0430\u0441\u0441\u0438\u0432\u043d\u044b\u0435 \u0443\u0433\u043b\u043e\u0432\u044b\u0435 \u043d\u0430\u043a\u043b\u0430\u0434\u043a\u0438 \u0438\u0437 \u043b\u0438\u0442\u043e\u0439 \u0431\u0440\u043e\u043d\u0437\u044b \u0432 \u0432\u0438\u0434\u0435 mascaron<\/em> \u2014 \u0436\u0435\u043d\u0441\u043a\u0438\u0445 \u043b\u0438\u0446 \u0441 \u043b\u0438\u0441\u0442\u043e\u0432\u044b\u043c\u0438 \u0432\u0435\u043d\u0446\u0430\u043c\u0438 \u2014 \u0432\u044b\u043f\u043e\u043b\u043d\u0435\u043d\u044b \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, \u0445\u0430\u0440\u0430\u043a\u0442\u0435\u0440\u043d\u044b\u043c \u0434\u043b\u044f \u043b\u0443\u0447\u0448\u0438\u0445 \u043f\u0430\u0440\u0438\u0436\u0441\u043a\u0438\u0445 fondeurs-ciseleurs<\/em>. \u041c\u0440\u0430\u043c\u043e\u0440\u043d\u0430\u044f \u0441\u0442\u043e\u043b\u0435\u0448\u043d\u0438\u0446\u0430 \u2014 \u0441\u0435\u0440\u0430\u044f \u0441 \u043a\u0440\u0430\u0441\u043d\u044b\u043c\u0438 \u0438 \u0431\u0435\u043b\u044b\u043c\u0438 \u043f\u0440\u043e\u0436\u0438\u043b\u043a\u0430\u043c\u0438, \u0432\u043e\u0437\u043c\u043e\u0436\u043d\u043e Griotte de Flandre<\/em> \u0438\u043b\u0438 Lumachelle<\/em> \u2014 \u044f\u0432\u043b\u044f\u0435\u0442\u0441\u044f \u043e\u0440\u0438\u0433\u0438\u043d\u0430\u043b\u044c\u043d\u043e\u0439 \u0438 \u0442\u0438\u043f\u0438\u0447\u043d\u043e\u0439 \u0434\u043b\u044f \u0444\u0440\u0430\u043d\u0446\u0443\u0437\u0441\u043a\u0438\u0445 \u043a\u043e\u043c\u043e\u0434\u043e\u0432 \u0432\u044b\u0441\u0448\u0435\u0433\u043e \u043a\u043b\u0430\u0441\u0441\u0430 XVIII \u0432\u0435\u043a\u0430<\/strong>.<\/p>\n
\u0412 1882 \u0433\u043e\u0434\u0443 \u043d\u0430 \u0437\u043d\u0430\u043c\u0435\u043d\u0438\u0442\u043e\u043c \u0430\u0443\u043a\u0446\u0438\u043e\u043d\u0435 \u043a\u043e\u043b\u043b\u0435\u043a\u0446\u0438\u0438 \u042d\u0434\u043c\u043e\u043d\u0430 \u0434\u0435 \u0413\u043e\u043d\u043a\u0443\u0440\u0430<\/strong> \u0432 \u041f\u0430\u0440\u0438\u0436\u0435 \u0438\u043c\u0435\u043d\u043d\u043e \u0442\u0430\u043a\u0438\u0435 \u043a\u043e\u043c\u043e\u0434\u044b bomb\u00e9<\/em> \u0441 \u0443\u0433\u043b\u043e\u0432\u044b\u043c\u0438 mascaron<\/em> \u0434\u043e\u0441\u0442\u0438\u0433\u0430\u043b\u0438 \u0440\u0435\u043a\u043e\u0440\u0434\u043d\u044b\u0445 \u0446\u0435\u043d. \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, \u0432 \u043c\u0430\u043d\u0435\u0440\u0435 \u041f\u044c\u0435\u0440\u0430 \u041c\u0438\u0436\u043e\u043d\u0430 II<\/strong> \u0438\u043b\u0438 \u0416\u0430\u043a\u0430 \u0414\u044e\u0431\u0443\u0430<\/strong>. \u0421\u043e\u0441\u0442\u043e\u044f\u043d\u0438\u0435 \u043f\u043e\u0434\u043b\u0438\u043d\u043d\u043e\u0435, \u043d\u0435\u0440\u0435\u0441\u0442\u0430\u0432\u0440\u0438\u0440\u043e\u0432\u0430\u043d\u043d\u043e\u0435, \u0441 \u0431\u043e\u0433\u0430\u0442\u043e\u0439 \u043f\u0430\u0442\u0438\u043d\u043e\u0439. \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
Ma\u00dfe:<\/strong> H\u00f6he: 81 cm \u00d7 L\u00e4nge: 122 cm \u00d7 Tiefe: 59 cm. Sehr schwer (Massivholz, Bronze, Marmor).<\/p>\n
Antike Bomb\u00e9<\/em>-Kommode mit drei Schubladen, Parkettierfurnier, Bronze-Mascaron<\/em>-Beschl\u00e4gen und Marmorplatte \u2014 Stil Louis XV, Frankreich, circa 1740\u20131770<\/strong><\/p>\n
Diese dreiteilige Bomb\u00e9<\/em>-Kommode ist eines der beeindruckendsten Beispiele des Louis XV<\/strong>-Stils in authentischem, unrestauriertem Zustand. Die Fassade ist mit Parkettierfurnier aus Palisander in einem Rauten- und Rombenmuster belegt. Die massiven Eck-Mascaron<\/em>-Beschl\u00e4ge aus gegossener Bronze \u2014 weibliche Gesichter mit Bl\u00e4tterkronen \u2014 sind von au\u00dfergew\u00f6hnlicher Plastizit\u00e4t, charakteristisch f\u00fcr die besten Pariser fondeurs-ciseleurs<\/em>. Die Marmorplatte \u2014 grau mit roten und wei\u00dfen Adern, m\u00f6glicherweise Griotte de Flandre<\/em> oder Lumachelle<\/em> \u2014 ist original und typisch f\u00fcr franz\u00f6sische Kommoden h\u00f6chster Klasse des 18. Jahrhunderts<\/strong>.<\/p>\n
Im Jahr 1882 erzielten genau solche Bomb\u00e9<\/em>-Kommoden mit Mascaron<\/em>-Beschl\u00e4gen auf der ber\u00fchmten Auktion der Sammlung von Edmond de Goncourt<\/strong> in Paris Rekordpreise. Herkunft: vermutlich Werkstatt h\u00f6chster Klasse in Paris<\/strong> \u2014 m\u00f6glicherweise im Stil von Pierre Migeon II<\/strong> oder Jacques Dubois<\/strong>. Zustand: authentisch, unrestauriert, mit reicher Patina. 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
Dimensions :<\/strong> Hauteur : 81 cm \u00d7 Longueur : 122 cm \u00d7 Profondeur : 59 cm. Tr\u00e8s lourd (bois massif, bronze, marbre).<\/p>\n
Commode bomb\u00e9<\/em> ancienne \u00e0 trois tiroirs, placage parquetry<\/em>, montures mascaron<\/em> en bronze et plateau de marbre \u2014 style Louis XV, France, circa 1740\u20131770<\/strong><\/p>\n
Cette commode bomb\u00e9<\/em> \u00e0 trois tiroirs est l’un des exemples les plus saisissants du style Louis XV<\/strong> parvenus dans leur \u00e9tat d’origine non restaur\u00e9. La fa\u00e7ade est plaqu\u00e9e d’un parquetry<\/em> en palissandre et bois clair \u00e0 motif de losanges. Les imposantes montures d’angle en bronze moul\u00e9 repr\u00e9sentant des mascarons<\/em> \u2014 visages f\u00e9minins couronn\u00e9s de feuillages \u2014 sont d’une plastique exceptionnelle, caract\u00e9ristique des meilleurs fondeurs-ciseleurs<\/em> parisiens. Le plateau de marbre \u2014 gris vein\u00e9 de rouge et de blanc, peut-\u00eatre Griotte de Flandre<\/em> ou Lumachelle<\/em> \u2014 est original et typique des commodes fran\u00e7aises de la plus haute cat\u00e9gorie au XVIIIe si\u00e8cle<\/strong>.<\/p>\n
En 1882, lors de la c\u00e9l\u00e8bre vente de la collection d’Edmond de Goncourt<\/strong> \u00e0 Paris, ce type pr\u00e9cis de commode bomb\u00e9<\/em> \u00e0 mascarons<\/em> atteignait des prix records. Origine probable : atelier de premi\u00e8re classe \u00e0 Paris<\/strong> \u2014 peut-\u00eatre dans la mani\u00e8re de Pierre Migeon II<\/strong> ou Jacques Dubois<\/strong>. \u00c9tat authentique, non restaur\u00e9, avec riche patine. L’\u00e9tat de la pi\u00e8ce est enti\u00e8rement refl\u00e9t\u00e9 dans les photographies.<\/p>\n","protected":false},"excerpt":{"rendered":"
IZM\u0112RI Augstums: 81 cm \u00d7 Garums: 122 cm \u00d7 Dzi\u013cums: 59 cm. Svars: \u013coti smags (mas\u012bvs koks, bronza, marmors). Ant\u012bka<\/p>\n","protected":false},"featured_media":18866,"template":"","meta":[],"product_brand":[],"product_cat":[221,207,204],"product_tag":[],"class_list":["post-18865","product","type-product","status-publish","has-post-thumbnail","product_cat-kumodes","product_cat-mebeles","product_cat-visas-lietas","first","instock","shipping-taxable","purchasable","product-type-simple"],"_links":{"self":[{"href":"https:\/\/server.id.lv\/lv\/wp-json\/wp\/v2\/product\/18865","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/server.id.lv\/lv\/wp-json\/wp\/v2\/product"}],"about":[{"href":"https:\/\/server.id.lv\/lv\/wp-json\/wp\/v2\/types\/product"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/server.id.lv\/lv\/wp-json\/wp\/v2\/media\/18866"}],"wp:attachment":[{"href":"https:\/\/server.id.lv\/lv\/wp-json\/wp\/v2\/media?parent=18865"}],"wp:term":[{"taxonomy":"product_brand","embeddable":true,"href":"https:\/\/server.id.lv\/lv\/wp-json\/wp\/v2\/product_brand?post=18865"},{"taxonomy":"product_cat","embeddable":true,"href":"https:\/\/server.id.lv\/lv\/wp-json\/wp\/v2\/product_cat?post=18865"},{"taxonomy":"product_tag","embeddable":true,"href":"https:\/\/server.id.lv\/lv\/wp-json\/wp\/v2\/product_tag?post=18865"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}