Ensemble de pièces dont romaines et françaises.

Tiempo restante

Valoración 100 - 150 EUR

Precio de salida 100 EUR

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Gastos de venta: 28.8 %

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Lote 27

Valorac. 2 250 - 2 500 EUR

Poster clock on bracket; France, first half of the nineteenth century. Gilded and chiseled bronze, enameled porcelain and marquetry. It has square Paris type machinery, wire suspension with chime on gong at the hours and half hours. Measurements: 74 x 33 x 20 cm; 31 x 41 x 22 cm. Set of table clock with matching bracket, created in the second half of the nineteenth century, based on the Boulle style models of the Napoleon III period. At that time it was common this look into the glorious past of the France of Louis XIV, of whom André-Charles Boulle was a decorator. From this artist we remember today mainly the type of decoration that we see here, a marquetry of part and counterpart in tortoiseshell and metal, combined with gilded bronze relief applications of great sculptural quality. The clock has an architectural structure of baroque inspiration, with large figurative feet in gilded bronze, with classical motifs, with the lower part of the body vegetalized and curled in the form of a scroll. In the central body the lateral ones present gilded borders, adorned again with classic ornaments, and finally crowns the set an openwork dome topped by a figure in round bulk, an eagle. Also noteworthy for its importance are the reliefs located under the sphere, also representing a bird. The dial has Roman numerals, enameled in cobalt blue on the white background, small pieces embedded in the metal frame, chiseled in the central area. The bracket follows the same style, although its bronzes are of lesser relief, so as not to detract from the main ensemble.

Lote 30

Valorac. 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.

Lote 31

Valorac. 3 000 - 3 500 EUR

Table clock; c. 1820. Mercury gilded and chiseled bronze. It has slight wear in gilding and one of the figures is not consolidated. One of the front applications and the back cover are missing. It needs restoration. Preserves pendulum. Signed Mme Gentilhomme à Paris on the dial. Measurements: 42 x 30 x 12,5 cm. Desk clock made of mercury gilded bronze. It is a piece of sculptural conception supported on four conical legs that gives way to a volumetric base of geometric shapes, recessed at the corners and ornamented with appliques in relief; a border with a portrait in profile in each of the corners and a garland in the center. The base gives way to the sculptural set in round bulk that is limited by a structure of architectural inspiration flanked with a caryatid inspired by the Egyptian world and located on each side. Finally, this structure ends in a pediment where the round base clock case with Roman numerals in black is located. There is a similar model in the Nationalmuseum of Stockholm (Inv: NMK 50/2021) through which it is known that the scene represents Marie Caroline, Duchess of Berry, with her newborn son Henri, Duke of Bordeaux and her daughter Louis, praying before going to sleep. The model was conceived by Jean André Reiche (1752-1817) who established his own foundry in Paris in 1785. The dial of the watch bears the signature "Mme Gentilhomme à Paris", the pseudonym of Louise Admirat (1759-1829). This signature, which has long been unknown or erroneously attributed, is that of Louise Admirat (Besse 1759-Paris 1829), one of the few women watchmakers working in Paris during the first quarter of the 19th century. On 15 Ventose, year III of the revolutionary calendar, she married Jean-François Gentilhomme, a goldsmith's merchant. Madame Gentilhomme seems to have developed her activity during a period of about fifteen years, from 1805 to 1820. She was known to have worked with some of the most influential collectors of the time. The probate inventory of Anne-Joseph-Thibault, Count of Montmorency-Fosseux, Marshal of the King's camps and armies, made in January 1819, mentions "...a clock with the name Gentilhomme à Paris, with gilt dial, in an alabaster case surmounted by a vase..., which was in one of the bedrooms of the Count's house in Paris." It has slight wear in gold and one of the figures is not consolidated. One of the front applications and the back cover are missing. It needs restoration. Preserves pendulum.

Lote 63

Valorac. 4 000 - 6 000 EUR

Louis XV style garnished table clock; France, Napoleon III period, third quarter of the nineteenth century. Chiseled, gilded and burnished bronze with porcelain enamel dial. Preserves pendulum. Presents loss of a lighter, restitution of a lighter and glass of later period. Signed on the dial: "Balthazard à Paris" and stamped on the mechanism: "Medaille d'argent; Vincenti & CIE". Measurements: 53.5 x 28.5 x 26 cm; 57.5 x 41.5 x 20 cm (clock). Garrison formed by two four-light candelabra and a table clock, with the three pieces that form the set entirely made of gilded bronze. It is a harness of historicist design, classically inspired, which harmoniously combines elements of different classicist periods: baroque, renaissance, neoclassicism and even Empire, in a fanciful and decorative mixture typical of the historicist context. The candelabra are made up of a superposition of elements, starting from a base formed by vegetal ornaments that intertwine, thus creating a very dynamic conception of the composition. Above it we see a body in which stands out for the plant-inspired design of the shaft. Finally, in each one of the candelabras, there is a vegetal element on which the body of lights rises, also based on stylized acanthus leaves. The lighters that finish them off are cylindrical, flower-shaped since they are decorated with motifs in relief that resemble petals and cover their entire surface. The clock follows a similar style, with a similar base. The case of the watch, with Roman numerals in cobalt blue on which Arabic numerals are arranged in relation to the minutes, the gold-colored openwork hands follow the ornamental line of the piece. This type of pieces reached great popularity during the 19th century, becoming an object of luxury and social significance. Destined to the upper zone of the chimneys, these sets were usually located in the visitors' room, so that their quality and good taste distinguished the taste of their owner. Preserves pendulum. Presents loss of a lighter, restitution of a lighter and glass of later period.

Ensemble de pièces dont romaines et françaises.

Ensemble de pièces dont romaines et françaises.

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