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Sun 21 Jul

REGENCE STYLE "BOULLE" MARQUET CARTEL, 19th century Shell, enamel, brass and gilt bronze cartel from the late 17th or early 18th century, topped by a figure representing time, universal (seated on its sphere) and cutting the thread of life with its scythe, but in the amiable guise of a putto. The right-hand body develops below this tortoise-shell veneered figure, through which brass foliate scrolls run in the first part. Bronze baguettes and chased frieze ornaments contrast with the dark aspect of the tortoiseshell and enhance the composition of the cartel, enriched by a fine gilded dial featuring a male bust against a trellis or canopy background, and horns of plenty from which foliate scrolls spring. The large hand traces out the minutes one by one, all arranged in Roman numerals around the circumference of the dial. Below the dial is a female figure holding a lamp, accompanied by a crane holding an open book bearing the text "PREHEN NEDAM DE TE". Behind this figure on the glass door opening onto the movement, the splendid "Boulle" marquetry can be seen through the glass. The cartel rests on four gilded bronze feet with floral motifs. The bracket is decorated with two angel heads and ormolu scrolls highlighting the edges. The base of the console is adorned with acanthus leaves surmounting trellises. Provenance: private collection of the family of Baron André Rubillon du Lattay. Inscribed "Martinot Paris". Size: 118 x 40 x 16 cm Used condition, traces of restoration, accidents, XXth century movement to be reviewed.

Estim. 1 000 - 1 500 EUR

Wed 24 Jul

Desk clock; France, restoration period, c. 1820. Mercury gilt bronze and malachite plates. It shows wear on the dial and pendulum. Measurements: 63 x 46,5 x 17 cm. Table clock made of mercury gilded bronze and malachite plates. The piece is supported on four bronze legs arranged in the corners representing lions' heads. On them the base is arranged as a podium, which stands out for the expressive ornamentation of the grain and the color of the malachite plates. The base is divided into several bodies that are defined by bronze appliques that surround the perimeter. The central zone has a bronze applique in relief that represents a Roman standard on which the name Belisarius can be read, thus indicating who is the personage represented in the upper zone. The piece ends with a round sculpture representing Flavius Belisarius (, 505-565), general of the Eastern Roman Empire, famous for reconquering part of the Western Roman Empire. The figure, which shows a pensive attitude, rests on the box with the dial. In this area the author combines gilded and blued bronze with malachite. The dial stands out for its gilt finish with black Roman numerals and breguet hands, while the blued bronze is used for the round sculpture. During the Restoration period in France under the reigns of Louis XVIII and Charles X, the decorative arts and especially interior design experienced a boom period. This type of scenes were very common in the decoration of table clocks, often depicting mythical or religious characters. It shows wear on the dial and pendulum.

Estim. 4 600 - 5 000 EUR

Wed 24 Jul

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.

Estim. 2 250 - 2 500 EUR

Wed 24 Jul

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.

Estim. 3 000 - 3 500 EUR

Wed 24 Jul

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. 2 000 - 2 250 EUR

Wed 24 Jul

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.

Estim. 4 000 - 6 000 EUR

Wed 24 Jul

Table clock; France, Louis Philippe period, c. 1845. Modeled, enameled and gilded porcelain. Precisely set. Presents stamps: "Medaille dòr 1844, FR breveté fournisseur du roi". Measurements: 49 x 30,5 x 14 cm. The initials F.R. refer to the French porcelain painter Edmé-Alexandre-Francisque Rousseau, active in Paris between 1837 and 1853. According to the Bulletin des lois de la République Française (Vol.29, Paris, 1845) Francisque Rousseau registered a patent in 1844 for the invention of a new porcelain gilding process. Thanks to this invention, Rousseau was awarded the great gold medal of the Sociéte d'Encouragement pour l'Industrie Nationale and in the General Yearbook of Commerce, Industry, Magistracy and Administration of 1847 the entry to his name reads "author of the gilding process, on any background colored at half kiln fire of which the great application, the perfect and constant success earned him (several prizes)...". Gaultier de Claubry praises the "improvements he brought to the decoration of porcelain". He describes the process by which Rousseau achieved the application of relief on colored backgrounds, without altering their luster, to receive a dense gilding. The unprecedented solidity of these ornaments seems to have opened up new decorative possibilities for a wider range of objects. Francisque Rousseau's "unalterable gilding" will allow, according to Mr. Claubry, "to satisfy all the demands of art and the whims of fashion". The popularity of his products and his low prices brought him increasing attention, culminating in his appointment as Purveyor to the King (Fournisseur du Roi) Louis-Phillipe in 1847.

Estim. 1 500 - 2 000 EUR
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