细节 A CONSULAT ORMOLU, PATINATED-BRONZE AND MARBLE GUERIDONCIRCA 1800The circular vert de mer marble top above a frieze decorated with putti holding grapevine swags bearing animals, supported by three vine-wrapped legs headed by satyr masks with rings, the legs joined in the middle by a circular stretcher and terminating in three griffins surrounding scrolling vines, on a tripartite base with gadrooned bun feet30 3/4 in. (78 cm.) high; 23 in. (58 cm.) diameter 来源 Collection of Duke Maximilian-Emmanuel of Bavaria (Munich, 1849 - Feldafing, 1893), probably schloss Biederstein, Munich.With Jacques Seligmann & Co., Paris, 1948.Anna Gould for Palais Rose, Paris, and later moved to Château du Marais, Paris until sold Boniface de Castellane & Anna Gould: A way of life, Christies, Paris, 7 March 2017, lot 116. 出版 Palais Rose Inventory, 1961, Mes Laurin et Ader: no. 2016 Guéridon tripode en bronze doré, à décor de masques de faunes, de rinceaux et de branchages et damours. Epoque Directoire prisé 4,000 francsCOMPARATIVE LITERATURE J. Messelet, Musée Nissim de Camondo, Paris, 1936, p. 35, n. 134.N. Gasc et G. Mabille, Le musée Nissim de Camondo, Paris, 1991, p. 63.H. Ottomeyer, Zopf - und Biedermeiermöbel. Katalog der Möbelsammlung des Münchner Stadtmuseums, Munich, 1991, cat. S. 229.J. Dubarry de Lassale, Utilisation des marbres, Paris, 2005, p. 150, n. 47. 注意事项 This lot will be removed to Christie’s Park Royal. Christie’swill inform you if the lot has been sent offsite. Our removal and storage of the lot is subject to the terms and conditions of storage which can be found at Christies.com/storage and our fees for storageare set out in the table below - these will apply whether the lot remains with Christie’s or is removed elsewhere.Please call Christie’s Client Service 24 hours in advance to book a collection time at Christie’s Park Royal. All collections from Christie’s Park Royal will be by pre-booked appointment only.Tel: +44 (0)20 7839 9060Email: cscollectionsuk@christies.com.If the lot remains at Christie’s it will be available for collection on any working day 9.00 am to 5.00 pm.Lots are not available for collection at weekends. This lot has been imported from outside of the UK for sale and placed under the Temporary Admission regime. Import VAT is payable at 5% on the hammer price. VAT at 20% will be added to the buyer’s premium but will not be shown separately on our invoice.Exceptional in its quality and rarity, this gueridon embodies the aesthetic transition between the 18th and 19th centuries and heralds the evolution of neoclassicism into the Empire style. Its provenance with the royal family of Bavaria and later in one of Paris’s most magnificent collections reflects the lasting desirability of such pieces among Europe’s greatest collectors. With its form recalling the furniture of ancient Rome, this gueridon perfectly reflects the passion for antiquity in this period, inspired by the findings at Pompei and Herculaneum. The frieze sculpted in the round and in bas-relief as well as the satyr heads relate firmly to the Louis XVI style, while the patinated bronze griffins at the foot of the gueridon herald the advent of the Empire style. The present lot is related, with some minor variations, to several rare examples. The first is recorded in the Utheman Collection in St. Petersburg and was illustrated in the art journal Starye gody, April 1908. Mounted on an stepped triangular plinth, it includes in its centre an amphora or vase suspended by three chains, a feature that the present gueridon may also have included. Another gueridon of this model is currently preserved in the Spanish Royal Collection in the salon d’honneur of the Royal Palace of El Pardo near Madrid and also retains its central vase hung from chains. Further examples are a gueridon sold Christie's, Paris, 23 November 2021, lot 94 as well as a gueridon bought by comte Moïse de Camondo from Seligmann in 1900, now in the Grand Salon of the Hotel Camondo (inv. CAM 137) and a gueridon formerly in the Helena Rubinstein Collection (Parke-Bernet Galleries, New York, 22-23 April 1966, lot 501) which was later part of the collection of John T. Dorrance (Sotheby’s, New York 20-21 October 1989, lot 822). Sylvie Legrand-Rossi, in her book on the furniture of the Nissim de Camondo museum mentions a pair in the sale of M. Lapeyrière, 9th October 1823, lot 38 with provenance in the collection of the Marquis de Drée: ‘two round tables and two triangular plinths, green and white porphyry, a most beautiful ancient serpentine, mounted as atheniennes on three chimera feet in green antiqued and gilt bronze’.Several elements derive directly from the decorative vocabulary of a celebrated model of candelabra with two griffins (musée Nissim de Camondo, inv. CAM 134 or Christie’s, Paris, 14 April 2015, lot 256), almost certainly by the same maker. In addition to the griffins, the gueridon also replicates the shape of the candelabra: three slightly curved uprights issued from griffin wings surmounted by satyr masks and a vase ‘à l’étrusque’ suspended by chains. These are most certainly the elements which led Alexandre Benois, an important Russian art historian and author of a 1908 article on the Utheman Collection to attribute the gueridon to Gouthière.MAXIMILIAN-EMMANUEL, DUKE IN BAVARIAThe inventory mark on this gueridon derives from its provenance with the royal family of Bavaria and specifically within the household of Maximilian-Emmanuel, Duke in Bavaria (1849-1893). The HME underneath the crown refers to the Duke’s German title Herzog Maximilian Emmanuel. Son of a junior branch of the Bavarian royal family and an example of the dense web of dynastic intermarriage in 19th century Europe, Maximilian-Emmanuel was the brother of Elisabeth, Empress of Austria popularly known as Sisi and grew up with his family at Schloss Possenhofen on the shores of Lake Starnberg. He married Amalia of Saxe-Coburg-Gotha, a granddaughter of Louis Philippe of France and sister of Tsar Ferdinand of Bulgaria. Through his mother Ludovika of Bavaria he inherited Schloss Biederstein near Munich in 1888, fully furnished. Formerly the home of his maternal grandmother the Dowager Queen of Bavaria Caroline Friederike von Baden, Biederstein consisted of two adjacent castles - the altes and the neues. The Neues Schloss, where Maximilian-Emmanuel had his main residence, had been constructed between 1826-1830 in the neoclassical style. The descendants of Maximilian-Emmanuel auctioned off much of the contents in Munich in 1930 and the castle was later destroyed in the Second World War. THE PALAIS ROSE The gueridon was placed in the famed residence of Boni de Castellane (1867-1932) and Anna Gould (1875-1961): the Palais Rose on Avenue Foch, Paris. The union between Boni de Castellane and Anna Gould was one of the first to join American railroad millions to French aristocracy and before its acrimonious end it resulted in the construction of Paris’s last great 19th century hôtel particulier, the Palais Rose. Based on the Grand Trianon of Versailles and constructed between 1895 and 1902 by the architects Paul-Ernest Sanson and René Sergent, the palais recreated a perfect copy of the château de Versailles’ celebrated ‘Ambassador Staircase’ that had been demolished in 1752 under King Louis XV. As one of the most refined tastemakers of the Belle Époque, Boni de Castellane decorated and furnished the palace in the grandest style of the Ancien Régime and it was the site of lavish entertaining. The marriage, never one of love, broke down in 1906, and Anna later remarried Castellane’s cousin, Hélie de Talleyrand-Périgord, the Duc de Talleyrand (1859-1937). The new couple retained the property on avenue Foch, as it was her father’s railroad millions that had built and furnished it. The house and its contents remained in the family until the property was sold in 1962.