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France

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France

France

France

France

France

France

France

France

France

France

France

France

France

France

France

France

Sculpture of Jeanne d’Arc, in French (Item FRAN 2-1; BRONZEMET 3-15)

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: SOLD

 

Bronze Statue

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Bronze Statue

Bronze Statue

Bronze Statue

Bronze Statue

Bronze Statue

Bronze Statue

Bronze Statue

Walkürie Statue in Bronze (Item FRAN 2-3; I-FAS 2-8; ART 17-11, BRONZE 1-3)

DESCRIPTION: Here is a really fine depiction in genuine bronze art-deco sculpture of a Walkürie or, as some would call her, an Amazon. In any case, she fits either description. At the same time such art was employed in Germany, it stood out in Mussolini’s Fascist Italy, as well. The theme of the warrior woman of legend is replete in the sagas of three culture groups: German, Italian, and French. The sculpture is signed ‘Pierre le Faguays.’ This artist, 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. We don't know the age of this bronze, but it certainly has the feel of the mythos of the "heroic age" (Enormenzeif), a time when heroism ruled and there was no time for Belanglosen: Inconsequentials.

PRICE: SOLD

 

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Magnifique!, “Splendid” (Item FRAN 2-4)

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 SPECIAL THIS WEEK: $3,200.00

 

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Napoleon II Vampire de la France (Item FRAN 2-5; KMEDAL 4-14)

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)

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)

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)

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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Please refer to item designator in parentheses in all correspondence.

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If you prefer, contact 'Germania' at PO Box 68, Lakemont, GA 30552
or call at 706.782.1668.


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