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France
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Sculpture of Jeanne d’Arc, in French (Item FRAN 2-1) |
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| DESCRIPTION: This is a magnificent sculpture by the master artist by the name of Laucier of the immortal Joan of Arc. Joan was born at Domrémy in the province of Lorraine in 1412, daughter of a peasant farmer; poor, but not needy. She never learned to read or write. She was noted to be a singularly pious child, who often knelt in church absorbed in prayer. Later, the vicious English invaders tried to connect her with superstitious, witchlike practices supposed to have been performed around a certain tree popularly know as the “Fairy Tree.” She had sung and danced there with other children and she wove wreaths from its leaves and branches for the statue of the Virgin, but she was no witch. It was at the age of 13 in the summer of 1416 that this young maiden first became conscious of that manifestation whose supernatural character; it would now be rash to question. Later she was able to identify and discern in some way the voices that spoke to her. She identified St. Michael, St. Catherine, and others. She was always reluctant to speak of her voices. Nonetheless, she told the star-chamber judges, “I saw them with my own eyes just as well as I see you.” The legend has it that the voices revealed her mission and it does seem that the call of God was only made to her gradually, but by May 1428, she no longer doubted that she was to go to help the king. The military situation of King Charles and his supporters was growing more desperate. Orléans was invested October 12, 1428, and by the close of the year complete and devastating defeat seemed imminent. Joan’s voices became urgent and even threatening. She said to them, “I am a poor girl. I do not know how to ride or fight.” The voices reiterated, “It is God who commands it.” Yielding at last, she left Domrémy in January 1429, went to her king, donned male costume, took up the sword, and impressed the generals because of her persistence. A secret sign communicated to her by the voices led the king somewhat half heartedly to believe in her mission. What this mission was Joan never revealed. Her faith, honesty, and simplicity made a favorable impression. Instead of the sword that the king had given her she begged that a search might be made for an ancient sword buried as she averred behind the altar in the chapel of Ste-Catherine-de-Fierbois. It was found in the very spot her voices indicated. There was made for her at the same time a standard bearing the words: “Jesus, mama,” with a picture of God the Father, and kneeling angels presenting a fleur-de-lis. The rest is the story of how with devotion to her cause, bravery, and heavenly guidance Joan was able to lead the French Army to victory after victory literally driving the hated English from French soil and she finally saw Charles VII solemnly crowned July 17, 1429. The principal aim of Joan’s mission was thus attained and it was now her wish to return home, but the army would not hear of it. It had never loved any commander more. Finally captured at the Battle of Compiègne on May 24, she began the long road to martyrdom. No words can describe the disgraceful ingratitude and apathy of Charles and his advisors in leaving the maid to her fate. Joan was literally sold to the English by John of Luxemburg for the sum which would amount to several hundred thousands of dollars in modern money. There can be no doubt that the English, partly because they feared their prisoner with a superstitious terror, and partly because they were ashamed of the dread she inspired, were determined at all costs to take her precious life. They could not put her to death for having beaten them, but they could get her sentenced as a witch and a heretic. She suffered bestial treatment from the English and traitors from her French countrymen such as Pierre Cauchon, the bishop of Beauvais. She was kept in an iron cage chained by the neck, hands, and feet, and allowed no spiritual privileges. We will not recount the infamous star-chamber court proceeding. The whole affair was cruel beyond belief with the English and Burgundians furiously tormenting her. When they finally had their way a court of 37 judges (murderous stooges) decided unanimously that the maid must be treated as a relapsed heretic. On May 30, 1431, amid circumstances of intense pathos she was allowed to receive communion and make her confession. Her demeanor at the stake was such to move even her bitter enemies to tears. She asked for a cross, which after, she embraced it, was held up before her while she called continuously upon the name of Jesus. “Until the last,” said Manchon, the recorder at the trial, “she declared that her voices came from God and had not deceived her.” After death her ashes were thrown into the Seine. Joan was canonized as a saint in 1920 by Pope Benedict XV. This sculpture captures all the noble countenance of this maid of Orléans more than any of such statuary that we have seen over the years. The detail is extraordinary and even this Lutheran has to greatly admire not only the wonderful artwork, but the saga of this the bravest and most noble of the Saints of Catholicism. Yet this is more than a statue of a saint; it is the artistic expression in bronze of an idea! The indomitable spirit of loyalty and a love of country and creed all summed up in the depiction of Joan, Maid of Orléans. The sculpture measures about 17 1/2 inches from the bottom of the base to the top of the head, 19 1/2 inches from the bottom of the base to her outstretched hand, 23 1/4 inches from the bottom to the spear tip of her standard. The base is about 5 1/2 inches and is basically square. The standard is inscribed with “Maria” and the kneeling angels. The sword bears the fleur-de-lis. This is a museum-grade sculpture worthy of the finest collection. We are proud to offer it on Germania’s pages.
PRICE: $2,800.00 |
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Walkürie Statue in Bronze (Item FRAN 2-3; I-FAS 2-8; ART 10-13) |
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| DESCRIPTION: Here is a really fine depiction in genuine bronze art-deco sculpture of Walkürie or some would call her an Amazon. In any case, she fits either description. At the same time such art was employed in Mussolini’s Fascist Italy, as well. The theme of the warrior woman of legend is replete in the sagas of all three cultures. The sculpture is signed ‘Pierre le Faguays.’ Le Faguays was a prolific and versatile avant-garde French sculptor whose works greatly influenced the styles of the 1920s and early 1930s. The piece measures about 20 inches high from the bottom of the base to the top of the head. The distance from the tip of the shield to the point of the sword is also 20 inches. The base is 3 inches high at its tallest point. We lean toward Walkürie rather than Amazon because of the structure of the sword. It is definitely Teutonic. The patina is wonderful and the action of the bronze is both dramatic and anatomically correct. This is one great sculpture that would certainly grace a collection that is inclusive of cultural items.
PRICE: SOLD |
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Magnifique!, “Splendid” (Item FRAN 2-4) |
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| DESCRIPTION: This is a statue by Pierre-Eugène-Emile Hébert, 1828-1893; a wonderful bronze sculpture of what looks to be a Napoleonic veteran, perhaps a former soldier of the “Old Guard.” The aged warrior sits with a young boy (his grandson?) as they look at a book that is about Alsace-Lorraine, the ever-contested region by France and the German Reichs. The boy has the look of supreme admiration for the old man as the latter spins the tales of the days of glory with the Grande Armée of the emperor Napoleon. Hébert has captured all the youthful exuberance in the face of the boy, who is absolutely held spellbound at the amazing narrative of bygone heroes and great battles. The artist was always lauded for his depictions especially of expressions of the human face. He had an eminently successful career in the salon and as a public sculptor beginning in the 1830s, the Second Republic. He specialized in a variety of subjects—general, classical mythologies, and even the satanic. Well respected in the official circles by the mid 1850s, Hébert was chosen to represent France in the fine-arts section of the 1855 Paris Universal Exposition. The state commissioned or acquired several of his works. The sculptor showed regularly in the salon until his death in 1893. The government of that time repeatedly chose Hébert’s work to represent the nation of France internationally. His state owned works appeared in the French Fine-Arts section of the 1873 Vienna Universal Exposition. There is a three-page essay on Hébert from the collection of the National Gallery of Art in Washington, DC. These papers will be faxed to any seriously interested party; and of course will accompany the sale of the sculpture. The patina is in beautiful condition. It measures 13 inches from the bottom of the base to the top of the hat; 10 1/2 inches across the length of the base, and 6 inches across the width of the base. The plaque at the center front of the base has the name of the sculpture: “La legon d’histoire par Emile Hébert medaille d’or au salon.” The History Lesson by the artist who has been the recipient of the Grand Medal of the salon. There is an inscription on the sculpture ‘avenir,’ the foundry. Also found is the signature of this prolific and masterful artist.
PRICE: $4,800.00 |
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Napoleon II Vampire de la France (Item FRAN 2-5; KMEDAL 4-14) |
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| DESCRIPTION: Here are four coins that are either actual production, or defacements, which portray the French Emperor Napoleon III as a vampire, even though the vampire looks more like an eerie-looking owl. A few of these coins show up over the years and our consigner managed to put together four of them over a period of several (20) years. The Emperor Napoleon III, 20 April 1808-9 January 1873, was president of France from 1849 to 1852 and then Emperor of France from 1852 to 1870. He had a satisfactory reign until 1870, when he declared war on Bismarck’s Prussia and the Franco-Prussian War ensued. This was proved disastrous for France and was instrumental in giving birth to the German Empire, which took France’s place as the major land power on the European continent. In battle against Prussia which started in July 1870, the emperor was captured at the Battle of Sedan on September 2 and was deposed by the forces of the Third Republic in Paris. Two years later he died in exile in England on January 9, 1873. He was so hated by the French people for his defeat and surrender that pictures of him were publicly burned. After all, not only was the emperor captured, but his entire army of 120,000 soldiers was made the prisoner of Moltke and the Prussian King, Wilhelm I. After the defeat, coins were struck at first by working over existing pieces with the bust portrait of the emperor by skilled engravers who would etch a German spike helmet on his head or other Germanic headgear. On the back the empire eagle was transformed into this aforementioned owl that they identified as a vampire. This was generally done on the ‘Dix Centimes’ coin. Later, medalists of renown joined the fray by striking medaled pieces that were a direct takeoff from the over-engraved coins. These pieces were very professionally done and are extremely rare, today. Some of them depicted the emperor as mentioned in various Germanic military headgear, but always the vampire, which now had taken on the owl appearance in professional depiction. The four offered are as follows: Number 1: The ‘Dix Centimes’ coin that was altered by engraving a Prussian Uhlan helmet on Napoleon’s head and changing the empire eagle’s head to the owl-vampire. This is an 1854 coin in fine condition. Number 2: A professional medal art piece depicting the emperor wearing a Prussian spike helmet with the words translated: “Napoleon II, The “little” (petit)! Then around the edge it seems to quote the emperor as saying: “Not having the courage to die at the head of my army, I deliver myself to my friends, the Prussians.” On the back the now-familiar owl-vampire with the words ‘Vampire de la France’ and underneath it says: ‘Paris 2 Dec. 1851-Sedan 2nd Sept 1870. The coin is in extra-fine condition. Number 3: This one also has the spike-helmeted emperor of France with practically the same words and phrases, but instead of the part about ‘friends’ it says: ‘I request a hiding place from the King of Prussia.’ The back is the same as number 2. This one could not be called uncirculated, but except for a little edge wear, it is very good. Number 4: This is the really rare one, we are told. It depicts the French emperor and Wilhelm I, Emperor (Kaiser) of Germany in a playing-card style pose (reversed bust portraits). Wilhelm has a spike growing out of his laurel-wreathed head, and Napoleon smokes a cigarette. Around the head of the emperor are the words: ‘Napoleon III Le Lache - Guillaume le Cruel.’ On the back is the inscription around the bird: ‘Les vampires de la mort,’ (‘Vampires of Death’) 1870-1871. The condition of this one is fine, but for some reason the end of the word vampires seem to fade out at the end or the word. Otherwise, it looks great! So here are three fine and eminently historically important satirical medallions and a coin. Seldom does anyone see one of these numismatic treasures, let along a set of four. We will sell this grouping as a set only. PRICE: $795.00; for the set |
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French Flintlock Pistol (Item FRAN 2-6) |
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| DESCRIPTION: This is a large flintlock weapon in fairly good shape. It’s typical of the style used by cavalry Cuirassiers, etc. It has a plain unengraved lock and hammer, plain barrel, and plain brass trigger guard. The butt plate and reverse side plate show some engraving slightly but worn away for the most part years ago. It has the typical curly trigger. Overall length is 19 inches. Barrel length is 12 inches. Two squared touch-mark strikes can be seen on the widest part of the upper end of the barrel. There had been some slight wood carving to the stock below the ramrod receiver, but worn away in the ages. Some of this carving can be seen at the back of the barrel tang. All screws appear to be original and old except for one that secures the hammer. All in all, this weapon looks like a French-made trade pistol that was used for trade in Arabic countries, although no Arabic decoration is evident. The pistol seems to be martial in its entire look and dimensions and may be rather for French Army use. It is a fine piece of firearm history in any case, and very reasonably priced.
PRICE: SOLD |
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1890 French Firemen in Figural Form (Porcelain Bisque) (Item FRAN 2-7) |
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| DESCRIPTION: Here is a pair of firemen from the 1890s period in the finest white bisque. They are about 5 1/2 inches tall and are in perfect unchipped condition. They are not signed. The gold buttons, helmets, tan boots were hand painted. This is a very nice little set. They look new, but are definitely from the 1930s.
PRICE: $165.00; the set |
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Petit Point Picture, 1870 (Item FRAN 2-8) |
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| DESCRIPTION: This is an absolutely fantastic picture done entirely by petit-point embroidery (a lost art for the most part!) The work is so good that it looks like a photograph, but when one realized that every minute thread is a separate entity that comes together to make the wonderful depiction, it is astounding and makes the brain sit back for a moment to not only admire, but to be amazed by the wonderment of how something like this could possibly be accomplished in the days of yesteryear. The whole mood, the soldier, the blades of grass, the tree with its branches that seem to move in the wind, the clouds, etc., all blend to give a fabulous portrayal of the tender moment in a time of horrible, fratricidal war. The young soldier has cast aside his field equipment and sits behind his regimental drum which temporarily serves as a handy desk. Who does he write to: mother, sweetheart, beloved wife, friend? Whoever it is he hesitates with thoughtfulness as he composes his next line. Note how he looks away from the narrative. Whoever produced this art masterpiece in petit point was an artist extraordinaire! It is signed by the artist, Scott Georges, and it has the numbers 4308 NF (St. Etienne). It was carefully framed with glass on both sides so that it can be inspected and confirmed that it is in fact the finest of this art of the late 1800s. It measures 9 x 12 inches in its frame. This is truly a museum piece, or alternatively, belongs in an important collection.
PRICE: $650.00 |
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Baton of François Achille Bazaine, Marshal of France, 1811-1888 (Item FRAN 2-10) |
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| DESCRIPTION: Here is one of the most important Imperial items ever offered on the web. It is a field-marshal baton awarded by Napoleon III. The baton is a second-type edition. It has a hollow copper/bronze tube with a blue, velvet covering, which was possibly replaced somewhere along the years. Alternating in 10 rows are attached beautiful flame-gilted eagles of the Second Empire. Attached to the ends of the baton are flame-gilted bronze caps. On the top cap are the words in Latin that go around it: “Terror belli decus pacis,” “The Fear of War Begets Peace.” On the end of this cap is the eagle of the Second Empire On the bottom cap is the Imperial French seal and around this one is the belt with the name of the recipient, Bazaine. Its length is about 20 inches. Marshal Bazaine was born in Versailles on February 13, 1811, and died September 28, 1888. He was the French commander in chief in Mexico. Later, he was commander in chief of the French army of the Rhine in the Franco-Prussian War of 1870-71. It was, unfortunately, he, who disobeyed orders and surrendered the army to the Prussians, went down in history as the supreme traitor of all French military history. We believe it was a bad rap as Bazaine otherwise was a brave man and a brilliant tactician. He undoubtedly had no choice in his decision to surrender. He was imprisoned for high treason and the French Emperor Napoleon, his superior, fell into equal ill repute and was nearly overthrown. In 1873, Bazaine was actually sentenced to death, but then through the intervention of people in very high places the order was rescinded and he was sentenced again; this time to deportation. But in 1874, he fled from his imprisonment and went to Spain (via Italy and England). He was the classical victim of circumstance in his entire career. He almost ended up facing the firing squad along with his immediate superior the archduke Maximilian of Austria, who, for a time, was the Emperor of Mexico—the ”Cactus Throne.” Had it not been necessary for Bazaine to manage the evacuation of the French army from Mexico in January 1866, he might have also been a victim of the revolution. Early in 1867, Bazaine led the last contingent from Mexico City leaving Maximilian to his dreadful fate. He had struggled to establish an empire on quicksand. Maximilian might have made a reasonably good ruler for Luxembourg or Bavaria, but he was completely lost in a country like Mexico with its indifferent and hostile populace, a rapacious upper class, treacherous politicians, and a chronically empty treasury. It was only French cannon that had kept him and his marshal in power, but it then became evident that those guns would fall silent. Louis Napoleon, the French emperor, was ultimately a realist. He knew it was one thing to ask Bazaine with 30,000 men to beat the rag-tag Juristas, but that it was quite another to ask them to face the odds forever. So, the French empire in Mexico’s far-flung adventure was now over. The following is a comprehensive biography of François Achille Bazaine as presented by Wikipedia.org. He was born at Versailles. He entered the army as a private soldier in 1831 with a view to service in Algeria, receiving a commission as sublieutenant in 1833. By his gallantry in action he won the cross of the Légion d'honneur , and he was promoted lieutenant in 1835. He served two campaigns with the Foreign Legion against the Carlists in Spain in 1837-38, returning to Africa as a captain in 1839. During the succeeding decade he saw continual active service in Africa, and rose to be a brigadier general with the charge of the district of Tlemcen. In the Crimean War he commanded a brigade, and maintained his reputation in the trenches before Sevastopol. On the capture of the south side he was appointed governor of the palace, and was promoted general of division. He also commanded the French forces in the expedition to Kinburn. He was invested by the British Commander in Chief, Lord Gough, with the Order of the Bath in 1856, for his conspicuous contribution to the Allied Campaign during the Crimea War. In Lombardy in 1859, he was wounded when in command of a division at Melegnano, and took a conspicuous part in the battle of Solferino. For his services in the campaign he received the grand cross of the Légion d'honneur , of which he was already (1855) a commander. He commanded with great distinction the first division under General (afterwards Marshal) Forey in the Mexican expedition in 1862, succeeded him in supreme command in 1863, and became marshal and senator of France in the following year. He at first pursued the war with great vigor and success, entering Mexico in 1863 and driving President Benito Juárez to the frontier. The marshal's African experience as a soldier and as an administrator stood him in good stead in dealing with the guerrilleros of the Juárez Party, but he was less successful in his relations with Maximilian, with whose court the French headquarters was in constant strife. Here, as later in his own country, Bazaine's policy seems to have been directed, at least in part, to his own establishment in the role of a mayor of the palace. His own army thought that he aspired to play the part of a Bernadotte. His marriage to a rich Mexican lady, whose family members were supporters of Juárez, still further complicated his relations with the unfortunate emperor, and when at the close of the American Civil War the United States sent a powerful war-trained army to the Mexican frontier, the French forces were withdrawn. Bazaine skillfully conducted the retreat and embarkation at Vera Cruz (1867). On his return to Paris he was but coldly received by his sovereign; public opinion was, however, in his favor, and he was held to have been made a scapegoat for the faults of others. At the outbreak of the Franco-Prussian War Marshal Bazaine was placed in command of the III corps of the Army of the Rhine. He took no part in the earlier battles, but Napoleon III soon handed over the chief command of the army to him. How far his inaction was the cause of the disaster of Spicheren is a matter of dispute. The best that can be said of his conduct is that the evil traditions of warfare on a small scale and the mania for taking up "strong positions," common to the French generals of 1870, were in Bazaine's own case emphasized by his personal dislike for the "schoolmaster" Frossard, lately the Prince Imperial's tutor and now commander of the army corps posted at Spicheren. Frossard himself, the leader of the "strong positions" school, could only blame his own theories for the paralysis of the rest of the army, which left the corps at Spicheren to fight unsupported. Bazaine, indeed, when called upon for help, moved part of his corps forward, but only to "take up strong positions," not to strike a blow on the battlefield. A few days later he took up the chief command, and his tenure of it is the central act in the tragedy of 1870. He found the army in retreat, ill equipped, and numerically at a great disadvantage, and the generals and staffs discouraged and distrustful of one another. There was practically no chance of success. The question was one of extricating the army and the government from a disastrous adventure, and Bazaine's solution of it was to bring back his army to Metz. It seems to be clearly established that the charges of treason to which later events gave so strong a color had, as yet, no foundation in fact. Nor, indeed, can his unwillingness to leave the Moselle region, while there was yet time to slip past the advancing enemy, be considered even as proof of special incompetence. The resolution to stay in the neighborhood of Metz was based on the knowledge that if the slow-moving French army ventured far out it would infallibly be headed off and brought to battle in the open by superior numbers. In "strong positions" close to his stronghold, however, Bazaine hoped that he could inflict damaging repulses and heavy slaughter on the ardent Germans, and in the main the result justified the expectation. The scheme was creditable, and even heroic, but the execution throughout all ranks, from the marshal to the battalion commanders, fell far short of the idea. The minutely cautious methods of movement, which Algerian experience had evolved suitable enough for small African desert columns, which were liable to surprise rushes and ambushes, reduced the mobility of a large army, which had favorable marching conditions, to 5 miles a day as against the enemy's rate of 15. When, before he had finally decided to stay in Metz, Bazaine attempted halfheartedly to begin a retreat on Verdun, the staff work and organization of the movement over the Moselle was so ineffective that when the German staff calculated that Bazaine was nearing Verdun, the French had in reality barely got their artillery and baggage trains through the town of Metz. Even on the battlefield the marshal forbade the general staff to appear, and conducted the fighting by means of his personal orderly officers. After the cumbrous army had passed through Metz it encountered an isolated corps of the enemy, which was commanded by the brilliant leader Constantin von Alvensleben, and promptly attacked the French. At almost every moment of the day victory was in Bazaine's hands. Two corps of the Germans fought all day for bare existence. But Bazaine had no confidence in his generals or his troops, and contented himself with inflicting severe losses on the most aggressive portions of the German army. Two days later, while the French actually retreated on Metz--taking 7 hours to cover 5 to 6 miles--the masses of the Germans gathered in front of him, intercepting his communication with the interior of France. This Bazaine expected, and feeling certain that the Germans would sooner or later attack him in his chosen position, he made no attempt to interfere with their concentration. The great battle was fought, and having inflicted severe punishment on his assailants, Bazaine fell back within the entrenched camp of Metz. But although he made no appeals for help, public opinion, alarmed and excited, condemned the only remaining army of France, Marshal Mac-Mahon's "Army of Châlons", to rescue Bazaine at all costs. The adventure ended at Sedan, and with Sedan the Second Empire collapsed. Up to this point Bazaine had served his country perhaps as well as circumstances allowed, and certainly with enough skill and a sufficient measure of success to justify his appointment. His experience, wide as it was, had not fitted him for the command of a large army in a delicate position. Since his Mexican expedition, moreover, he had himself fallen into a state of moral and physical lethargy, which, imperceptible on the field of battle, because his reputation for impassive bearing under fire was beyond question, was only too obvious in the staff offices, where the work of maneuvering the army and framing plans and orders was chiefly done. But, in spite of these defects, it cannot be asserted that anyone of Bazaine's subordinates would have done better, with the possible exception of Ladmirault, and Ladmirault was one of the junior corps commanders. Bazaine, therefore, in the main justified his reputation for ability. He was now to justify his reputation for intriguing and underhand diplomacy. If in Mexico he aspired to the role of mayor of the palace, it was far more so in Metz, where, as commander of the only organized army of France, he conceived himself to be the ruler of the country's destiny. Accordingly he engaged in a series of diplomatic intrigues, some of which to this day have never been properly cleared up. Negotiations passed between the outer world and the besieged commander, the purport of which remains still to some extent obscure, but it is beyond question that he proposed with the permission of the Germans to employ his army in "saving France from herself." The scheme, however, collapsed, and the Army of the Rhine became prisoners of war to the number of 140,000. At the moment of the surrender a week's further resistance would have enabled the levies of the National Defense government to crush the weak forces of the Germans on the Loire and to relieve Paris. But the army of Prince Frederick Charles, set free by the surrender, hurried up in time to check and to defeat the great effort at Orléans. The responsibility for this crushing blow was naturally enough, and justly enough, placed on Bazaine's shoulders, and although, when be returned from captivity, the marshal enjoyed a brief immunity, he was in 1873 brought to trial before a military court. He was found guilty of negotiating with and capitulating to the enemy before doing all that was prescribed by duty and honor, and sentenced to degradation and death, but very strongly recommended to mercy. His sentence was commuted to twenty years' seclusion, and the humiliating ceremonies attending degradation were dispensed with. He was incarcerated in the Ile Sainte-Marguérite and treated rather as an exile than as a convict; he escaped in 1874 to Italy, and thence to London, where he stayed with the family of George Hayter. He finally took up his abode in Madrid, where he was treated with marked respect by the government of Alfonso XII. He published Episodes de la guerre de 1870 (Madrid, 1883). He also wrote L'Armée du Rhin (Paris, 1872). PRICE: POR |
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Nymphenburg Porcelain Figure of 18th-Century Soldier (Bandsman) (Item FRAN 2-11; KGLASS 2-7; ART 12-9) |
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| DESCRIPTION: This is an absolutely remarkable porcelain figure by the Nymphenburg Porcelain Manufactory of a drum major of the Régiment d’Erlach, 1762-1782, an elite French regiment of Cuirassiers. This figure probably dates from the period of the Third Reich. It’s of SS Allach quality and quality is always a keyword when speaking of Nymphenburg porcelain. It was one of the major companies producing fine porcelain. The first factory was established in 1747 at the castle of Neudeck, outside Munich, by Maximilian III Joseph, elector of Bavaria. The wares produced there are sometimes called “Neudeck–Nymphenburg.” In 1761, the factory was moved to Nymphenburg, on the outskirts of Munich, and has one of the most beautiful palaces of Europe. It was the summer residence of the Bavarian monarchs. In the palace is a wonderful collection on display of Nymphenburg porcelain. In fact, the porcelain started out by supplying the Wittelsbach monarchy. The company has the reputation and tradition of uninterrupted porcelain production of the very finest quality for 250 years. The porcelain figures turned out in the 1930s and 1940s are not only of Allach quality, but, in some cases, finer, but in this fineness, they are also subject to damage more than other companies’ figures. Why? Because Nymphenburg’s military figures had extended appurtenances such as rifles, bayonets, band leader’s staff; all being quite delicate and subject to breakage. Other companies shied away from this and molded their figures with a minimum of extended breakable items. The pieces that you see on this figure by all intents and purposes should be “gone,” because the collector in Germany took great care of them, and when we bought them he insisted they be specially packed in a box that was enclosed in another box that in turn was in another box. This figure is absolutely beautiful and represents accurately the uniform of the period. It’s in absolute perfect condition throughout and quite rare.
PRICE: SOLD |
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Nymphenburg Porcelain Figure of an 18th-Century Fusilier (Item FRAN 2-12; KGLASS 2-8; ART 12-10) |
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| DESCRIPTION: Here is a marvelous depiction in fine porcelain by the Nymphenburg Porcelain Manufactory of an 18th-century soldier in battle dress. He is a Fusilier of the Division Stachelm, 1792. We were unable to research this division, but are pretty certain it was a French line infantry division. This figure probably dates from the period of the Third Reich. It’s of SS Allach quality and quality is always a keyword when speaking of Nymphenburg porcelain. It was one of the major companies producing fine porcelain. The first factory was established in 1747 at the castle of Neudeck, outside Munich, by Maximilian III Joseph, elector of Bavaria. The wares produced there are sometimes called “Neudeck–Nymphenburg.” In 1761, the factory was moved to Nymphenburg, on the outskirts of Munich, and has one of the most beautiful palaces of Europe. It was the summer residence of the Bavarian monarchs. In the palace is a wonderful collection on display of Nymphenburg porcelain. In fact, the porcelain started out by supplying the Wittelsbach monarchy. The company has the reputation and tradition of uninterrupted porcelain production of the very finest quality for 250 years. The porcelain figures turned out in the 1930s and 1940s are not only of Allach quality, but, in some cases, finer, but in this fineness, they are also subject to damage more than other companies’ figures. Why? Because Nymphenburg’s military figures had extended appurtenances such as rifles, bayonets, band leader’s staff; all being quite delicate and subject to breakage. Other companies shied away from this and molded their figures with a minimum of extended breakable items. The pieces that you see on this figure by all intents and purposes should be “gone,” because the collector in Germany took great care of them, and when we bought them he insisted they be specially packed in a box that was enclosed in another box that in turn was in another box. This figure is absolutely beautiful and represents accurately the uniform of the period. It’s in absolute perfect condition throughout and quite rare.
PRICE: SOLD |
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Nymphenburg Porcelain Figure of an 18th-Century (Drummer) (Item FRAN 2-13; KGLASS 2-9; ART 12-11) |
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| DESCRIPTION: This again is a wonderful depiction by the Nymphenburg Porcelain Manufactory of an 18th-century of a French drummer of the Régiment d’Erlach, 1762-1782. This figure probably dates from the period of the Third Reich. It’s of SS Allach quality and quality is always a keyword when speaking of Nymphenburg porcelain. It was one of the major companies producing fine porcelain. The first factory was established in 1747 at the castle of Neudeck, outside Munich, by Maximilian III Joseph, elector of Bavaria. The wares produced there are sometimes called “Neudeck–Nymphenburg.” In 1761, the factory was moved to Nymphenburg, on the outskirts of Munich, and has one of the most beautiful palaces of Europe. It was the summer residence of the Bavarian monarchs. In the palace is a wonderful collection on display of Nymphenburg porcelain. In fact, the porcelain started out by supplying the Wittelsbach monarchy. The company has the reputation and tradition of uninterrupted porcelain production of the very finest quality for 250 years. The porcelain figures turned out in the 1930s and 1940s are not only of Allach quality, but, in some cases, finer, but in this fineness, they are also subject to damage more than other companies’ figures. Why? Because Nymphenburg’s military figures had extended appurtenances such as rifles, bayonets, band leader’s staff; all being quite delicate and subject to breakage. Other companies shied away from this and molded their figures with a minimum of extended breakable items. The pieces that you see on this figure by all intents and purposes should be “gone,” because the collector in Germany took great care of them, and when we bought them he insisted they be specially packed in a box that was enclosed in another box that in turn was in another box. This figure is absolutely beautiful and represents accurately the uniform of the period. It’s in absolute perfect condition throughout and quite rare.
PRICE: SOLD |
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