Null Two Greek silver coins.

Description

Two Greek silver coins.

249

Two Greek silver coins.

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Estim. 180 - 300 EUR

Collection of 4 books on alternative therapies: 1 (Moxa). MOREL (Jean-Baptiste): Mémoire et observations sur l'application du feu au traitement des maladies; guérison d'une maladie du foie opérée par le moxa; suivis de vues générales sur la médecine, et de quelques préceptes en forme d'aphorismes. Paris, Le Normant, 1813. One volume. 12.5 by 19.5 cm. 315-(2) pages. Contemporary black half morocco, smooth spine. Copy in very good condition. First edition. Quérard VI-p. 302. 2. BACHER (Georges-Frédéric): Recherches sur les maladies chroniques, particulièrement sur les hydropisies, et sur les moyens de les guérir. Paris, Veuve Thiboust et Didot Le Jeune, 1776. One volume. 12 by 19.5 cm. (4)-XL-XV-(1)-724-(2) pages. Contemporary full marbled calf, 5-rib spine, ornate caissons, triple gilt framing of boards, all edges gilt. A 5 cm split on the upper spine, two corners slightly worn. Minor interior spotting. Pp. 629 to 675: Catalogue of writings on dropsy in alphabetical order of academic collections and authors. First edition. Conlon 76: 669; Blake p. 26; Wellcome II-p. 81. "Bacher (Georges-Frédéric), physician, 1709-1798, settled in Thann, where he practiced from 1741 to 1770 [...]. He specialized [...] in the treatment of dropsy, which he claimed to cure with tonic pills composed of 2/7 black hellebore, 2/7 myrrh and 3/7 powdered blessed charcoal. Dr. Bacher advocated the use of his pills in a number of advertising publications, the first of which dates back to 1767. In 1772, Bacher published his specific formula." (D.B.F. IV-p. 1074). 3 (Balneotherapy). FLEURY (Dr. Louis-Joseph-Désiré): Traité pratique et raisonné d'hydrothérapie. Recherches cliniques sur l'application de cette médication au traitement des congestions chroniques du foie, de la rate, de l'utérus, des poumons et du coeur; des névralgies et des rhumatismes musculaires; de la chlorose et de l'anémie; de la fièvre intermittente; des déplacements de la matrice, de l'hystérie; des ankyloses, des tumeurs blanches, de la goutte; des maladies de la moelle, des affections chroniques du tube digestif, des pertes séminales, etc.. Paris, Labé, 1852. One volume. 13 by 21.3 cm. VIII-568 pp. + 4 plates h.t. (including 1 fold-out). Contemporary fawn half-basane, smooth spine decorated, red title page. Small crack on upper spine. Some foxing, one plate skilfully restored without missing. First edition. 4. Collection of various pieces printed to date, relating to the anti-psoric discovery of J. Mettemberg, [...]. Some make known his successes, confirmed by official experiments and by a host of supporting evidence; others highlight the obstacles he faced, and the manner in which he overcame them. Paris, L'Auteur, Ventôse an XIII = February 1805. One volume. 12 by 19.5 cm. Multiple pagination. Contemporary full speckled basane, ornate smooth spine, red title-piece, gilt Greek frieze framing the boards, gilt edges. Small hole at bottom of lower spine. Six pieces. Details on request. P. Labrude, Joseph Sigisbert Mandel (1749 - 1820) [...], one of Nancy's greatest pharmacists of the late 18th and early 19th centuries. "Mettemberg water, or "anti-psoric quintessence", is a secret medicine, hence the name "secret remedy", used to treat scabies. It was proposed in 1794 (year III) by the former military surgeon Joseph Mettemberg. This external remedy was widely used, and its author enjoyed a great deal of support [particularly in government ministries]. In 1801 or 1802, Mandel was "approached by a fellow doctor" who was "experiencing serious accidents as a result of the external use of this specific drug" [...]. [...] At the public meeting of the Société de Santé held on 2 Messidor An X (June 21 1802), in the presence of the Prefect of the Meurthe department, he presented the results of his analyses of the drug, concluding: "It was with the greatest surprise that I discovered that the base of this specific was one of the most deleterious, one of the most active poisons known, muriate of mercury suroxygenated, today called corrosive sublimated mercury". Mandel was not mistaken about the toxicity of this compound, now called mercuric chloride, which did not prevent the water from continuing its long career". (P. Labrude). This collection illustrates the controversy between the inventor and his detractors.

Estim. 1 200 - 1 500 EUR

Table clock; France, third quarter of the nineteenth century. Chiseled and burnished bronze. Piece revised in 2018. Preserves key and pendulum. It presents faults in the glass and slight wear. Measurements: 38 x 53 x 13 cm. Napoleon III table clock with gilded bronze case. It presents a rococo-inspired design in combination with classical motifs such as the scrolls, a venera or the upper cornucopia. The two little child angels flanking the sphere, worked in round, provide compositional symmetry to the whole, topped with a top. The curvilinear body, chiseled at the base with gadroons. The enameled and glazed porcelain case has Roman numerals in black and gold-colored openwork hands. The decorative elements that are part of the clock continue the aesthetic that recalls the ornamentation used in Antiquity both Greek and Roman, but always maintaining a high degree of sumptuousness, adding the eclecticism of Renaissance or neoclassical inspiration. Part overhauled in 2018. Retains key and pendulum. It presents faults in the crystal and slight wear.

Estim. 2 000 - 2 250 EUR

Table clock; France, late nineteenth century. Burnished and chiseled bronze and enameled porcelain. Missing pieces of machinery and some bronzes are loose. Machinery signed "Vassy Jeure Paris". Measurements: 68 x 50,5 x 14,5 cm. Table clock made of burnished and chiseled bronze with enameled porcelain cup "Beau bleu" in the manner of Sèvres. The piece sits on a golden pedestal base, inspired in its design by classical antique motifs. On the base sit two round figures flanking the sides representing a couple of children. In the center stands the cup with bronze base and porcelain body adorned with two goat heads as a handle, each of them on the sides. The front of the body houses the clock face with Roman numerals in black and gold-colored openwork hands. Finally, the cup has a gilded bronze finial. This type of work was very common in the interior decoration of houses and palaces of the upper class in the nineteenth century. Used to decorate rooms by placing them on tables, chests of drawers, etc., they were highly appreciated both by the nobility and by a certain part of the bourgeoisie (those who aspired to emulate the aristocracy, above all) and were made in practically all the important artistic schools of the time. However, the most valued creations were the French ones for several reasons. First, the quality of their design, always inspired by the artistic innovations of the time and avoiding excessive repetition, with a wide variety of models drawn from different sources (Greek sculptures, mythological themes, contemporary works, etc.). Secondly, for the quality of the materials used: high quality porcelain, well-crafted bronzes of good casting and excellent gilding (techniques that the French government itself always had very controlled so as not to lower their quality or, as a result, the category of their production), metals, sometimes carved and polychromed wood, etc. Parts of the machinery are missing and some bronzes are loose.

Estim. 4 000 - 4 250 EUR

Pair of candlesticks; France, 19th century. Chiseled and burnished bronze with porcelain enameled body. Measurements: 87 x 43 x 40 cm (x2). Pair formed by two candlesticks of seven lights each, all of them made in bronze combined with porcelain in the Sèvres style. Both have the same design that starts from a round base that sits on four legs in the shape of a feline claw. The bronze piece ends with a decoration of stylized and synthetic leaves. From the base there are bronze putti-shaped appliqués, which give way to the handles. The central body of periform format is made of porcelain enameled in blue. This type of work was very common in the interior decoration of upper-class homes and palaces in the 19th century. Used to decorate rooms by placing them on tables, chests of drawers, etc., they were highly appreciated both by the nobility and by a certain part of the bourgeoisie (those who aspired to emulate the aristocracy, above all) and were made in practically all the important artistic schools of the time. However, the most valued creations were the French ones for several reasons. First, the quality of their design, always inspired by the artistic innovations of the time and avoiding excessive repetition, with a wide variety of models drawn from different sources (Greek sculptures, mythological themes, contemporary works, etc.). Secondly, for the quality of the materials used: high quality porcelain, well-crafted bronzes of good casting and excellent gilding (techniques that the French government itself always had very controlled so as not to lower their quality or, as a result, the category of their production), metals, sometimes carved and polychromed wood, etc.

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