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Tue 25 Jun

RVLC Roger Vandercruse dit Lacroix (1728 - 1799) et Louis Moreau (1740 - 1802) Bonheur-du-jour en placage de bois marqueté teinté de satiné, palissandre filets de buis et bois clairs et teintés à décor de motifs et ustensiles divers, tasses vases fleuris, livres théière, pot, encrier etc… dans le goût de la Chine. La partie haute à retrait à bordure chantournée ouvre à un petit tiroir surmonté d’un casier et flanqué de portes. La partie basse ouvre à un tiroir en ceinture formant écritoire garnie de cuir noir doré au petit fer. Il repose sur des pieds légèrement cambrés. Ornementation de bronzes ciselé et doré frises d’entrelacs, chutes et enroulements d’acanthe et sabots feuillagés. Il présente deux estampilles, la première Estampille sur la traverse « R.V.LC. » pour RVLC Roger Vandercruse dit Lacroix ou reçu maître en 1755 et un des grands noms de l’ébénisterie française de la seconde moitié du XVIIIe siècle. La seconde à l’intérieur du petit tiroir « L. Moreau » pour Louis Moreau reçu maître en 1764 installé rue de l’échelle Saint Honoré il ne réalise lui-même qu’une partie des meubles qu’il vend dans sa boutique estampillant à son tour les meubles comme ce bonheur du jour. Restaurations et reprises aux placages, manque le sabot arrière gauche. Epoque Transition Louis XV-Louis XVI Haut.: 109.5 cm – Larg.: 64.5 cm – 41 cm Œuvres en rapport Modèle similaire au nôtre reproduit p.757 dans le mobilier français du XVIIIe siècle de Pierre Kjellberg. Ce meuble est connu avec une variante qui présente une tablette d’entrejambe: vente Sotheby’s 5 novembre 2014 ¨n°175.Vente Sotheby’s 19 avril 2012 n°109.

Estim. 8 000 - 12 000 EUR

Thu 27 Jun

Bedeutende Boulle-Bibliothek, Nicolas Sageot, zugeschrieben - Height: 224 cm. Width: 120 cm. Depth: 43 cm. Attributed to Nicolas Sageot Paris, around 1700. Library with ornate Boulle marquetry. The cabinet has two solid doors in the lower section, two central belt drawers and two glazed doors in the upper section. The entire front is adorned with lavish decoration inspired by the engravings of Jean Bérain (1640-1711). The lower doors are centered around a depiction of the goddess Minerva standing on a hill, holding a bow and a chimera, framed by decorative lambrequins. A rich fauna unfolds around Minerva, consisting of butterflies, gnats, squirrels and chimeras buzzing in a net of arabesques decorated with Indian masks and Medici vases filled with flowers. Above, the two drawers are decorated with similar arabesques depicting two actors from the commedia dell'arte. The upper doors are glazed, the panes surrounded by a curved "chapel" frame in the upper part and decorated with the same exuberant arabesques and birds. The cornice is finely decorated with a frieze of palmettes, complemented by tortoiseshell and brass. The ebony and blackened pear wood sides feature two rectangular panels accented with bronze frames. The entire piece rests on five toupie feet. The core and back are made of softwood, while the back of the doors are finished with walnut veneer. The inside of the drawers is made of solid walnut. The original locks, keys and latches are preserved and the piece is in excellent condition with minor restorations to the marquetry. A detailed analysis of the decoration allows this library to be attributed with certainty to Nicolas Sageot, a master ebenist from the reign of Louis XIV. Known for marking his Regency-style furniture at the end of his career, Sageot's recognizable motifs, such as gnats, butterflies and squirrels, correspond exactly to those found on stamped pieces. This model, with two parts separated from drawers by a belt line, is still typical of the Louis XIV era and, like the Mazarin desks, was made slightly before the new stamping legislation. While the Boulle technique is celebrated today, it met with considerable criticism in its day for its vivid colors and elaborate brass embellishments, which contrasted sharply with the somber natural wood furniture of Louis XIII's reign. Interestingly, King Louis XIV, a great lover of both antique and contemporary art, was a proponent of this style. This well-preserved library is an excellent example of the opulent style that is the quintessence of French ebenistery.Nicolas Sageot (1666-1731), a renowned ebenist, was appointed master in Paris in 1706. He was married to the daughter of his colleague Jacques Roussel and probably worked as a freelance craftsman in the Faubourg Saint-Antoine from the late 17th century. Sageot's workshop, which was probably continued by his widow, existed until the end of the reign of Louis XV. Few works by Sageot are stamped, but they can be attributed to him by comparison with documented pieces, often inspired by the work of Boulle and including important libraries. Remainder. Comparisons: Pierre Ramond, André-Charles Boulle; ébéniste, ciseleur et marqueteur du roy, p. 156. (1402221) (13) Important bookcase, Nicolas Sageot, attributed 224 x 120 x 43 cm. Paris, ca. 1700. Bookcase with elaborate Boulle marquetry. The entire front presented in lavish decoration inspired by the engravings of Jean Bérain the Elder (1640 - 1711). A detailed analysis of the décor allows this bookcase to be attributed with certainty to Nicolas Sageot, a master cabinetmaker from the reign of Louis XIV. This well-preserved bookcase is an excellent example of the opulent style representing the quintessence of French cabinetmaking. Nicolas Sageot (1666 - 1731), a renowned cabinetmaker, was appointed master cabinetmaker in Paris in 1706. Only few of Sageot's works are stamped, but they can be attributed to him by comparison with documented pieces, often inspired by the work of Boulle including important bookcases. Restored. Examples of comparison: Pierre Ramond, André-Charles Boulle; ébéniste, ciseleur et marqueteur du roy, p. 156. CITES export restrictions - sale in the EU only.

Estim. 25 000 - 35 000 EUR

Thu 27 Jun

Bedeutendes Bureau Plat - Height: 80 cm. Width: 162 cm. Depth: 82 cm. Attributed to François Lieutaud, for the merchant Noël Gérard. Paris, around 1725 - 1730. Interior of the drawers in walnut, body in fir wood. This rare, demountable writing desk has ebony veneer and ebonized wood inlaid with brass threads. It has three drawers at the front: two elongated drawers on the sides and a large, trapezoidal drawer in the middle. Each drawer has a bronze frame with plant friezes; the side drawers have handles with laurel wreaths, acanthus roses and keyhole decorations in the shape of lion heads; the central drawer has an openwork palmette as a keyhole decoration. The back is decorated with an identical pattern simulating three drawers. The four curved legs end in acanthus-shaped sabots and are fitted with corner fittings and distinctive masquerons at the upper ends. The curved drawer sides are highlighted with double brass inlay, forming "C" shapes, decorated with bronze godrons with floral friezes that follow the cut of the drawers and act as a divider to the center drawer. The central part of the sides is decorated with an important bronze figure symbolizing astronomy, showing a goddess leaning on a star-studded sphere and holding a compass in her hand. The top is covered in brown gold-punched leather and framed by a bronze strip with double tendrils. The desk can be completely dismantled thanks to an ingenious system. The original bronzes were probably originally only lacquered, as in Munich, and are now fire-gilded. Our desk is part of a small corpus of around ten pieces with identical bronze decor and shape. Two of these desks are in German collections and are stamped "FL" for François Lieutaud, dated around the same time and have almost never been moved. The first, which is kept in the Ansbach Residence, was delivered in 1729 for the Margraves of Brandenburg; the second, which is mentioned in the first inventory of the Munich Residence Palace in 1759, was probably ordered when Charles VII inherited Bavaria after the death of his father in 1726. In addition to the princes of the Holy Roman Empire, this model also attracted high dignitaries from the Kingdom of France. The desk in the library of the Arsenal and two other desks with the stamps of the National Assembly came from national collections and were probably sold during the Revolution. The success of this model is due to two main reasons: firstly, the personality of François Lieutaud, who became the most respected ébénist in the kingdom after the death of André Charles Boulle in 1719. He was granted the rare privilege of casting his own bronzes by King Louis XIV; he therefore made his own wax models and kept the molds. He created some of the most beautiful furniture in the kingdom and it is therefore understandable that he received many commissions. Secondly, the creativity he shows in this desk, with powerful bronzes and a light line that is the quintessence of the Régence style. Some innovative details, such as the absence of a frame in the middle, the shape of the drawers or the key system, testify to the exceptional nature of this model. A desk of this type, which is kept in the Toledo Museum of Art and bears the stamp "NG", shows that Lieutaud marketed this type of desk through Noël Gérard. Gérard was both a cabinetmaker and a dealer and worked under the name "au cabinet d'Allemagne" from 1719 to 1722 before taking over the "magasin général", which was the center of the luxury goods trade in Paris until his death in 1736. His clientele included many crowned heads and princes of the Holy Roman Empire, which supports this hypothesis, as does the key system, which allowed for easy disassembly and thus facilitated long-distance delivery. The body of the ten or so desks is quite homogeneous in shape and decoration and ranges in size from five king's paws (162 cm) to six and a half (211 cm). Each desk is unique; some lack the bronze frames of the drawers, others have them only as slatted hinges. Our desk is one of the richly decorated ones and is stylistically similar to the desk of Emperor Charles VII, which is kept in Munich. The beauty and stylistic purity of our desk undoubtedly places it on the podium of the most beautiful French desks of the 18th century. With a body of around ten examples, half of which are kept in renowned museums, it is extremely rare on the market. Comparison

Estim. 120 000 - 150 000 EUR

Thu 27 Jun

Selten schöne Roentgen-Schatulle - Height: 11 cm. Width: 24.5 cm. Depth: 17.5 cm. Neuwied, second half of the 18th century. A one-division base over gilded corner feet with a push mechanism on the upper edge of the body, framed by a gilded quarter profile. Hinged lid with inlaid ormolu-framed marquetry depicting two rural figures feeding chickens. The lively, differentiated effect of the marquetry - here against a typically dark background - is due to the use of various fine-grained precious woods such as boxwood, lemonwood, ebonized pear and other types of fruitwood. The technique of producing such fine mosaic inlays from an etched model naturally required a high standard of skill. The appropriate veneer woods are selected by tracing the engraving template, the grain of which corresponds to the respective object of the picture sections. They are glued onto tissue paper, cut and assembled to fit. The desk of Elector Johann Philipp von Walderdorff features a micro-mosaic of this fine design (Huth, plate 75 and Greber, p. 101, fig. 182). As Hans Huth has established (see below), the models for these Roentgen marquetry paintings are based on pictures by the Dutch painter Nicolas Berchem (1620-1683), which were engraved by Johann Georg Hertel and thus became widespread, and were taken up by Roentgen, Meissen and other courtly manufactories. Today, works from the Roentgen manufactory can be found in important collections throughout Europe and overseas, some in museums and public collections but also in private ownership. They are among the treasures of the decorative arts. One key present, base minimally cracked. Annotation: There are some particularly well-known pieces such as Goethe's roll-top desk for Frau von Stein, located in the Catherine Palace, St. Petersburg, as well as the desk at which Napoleon and President Jefferson signed the treaty on the purchase of a southern part of the USA. Collectors of these pieces were: Johann Wolfgang and Johann Caspar von Goethe, Elector and Archbishop Johann Philipp von Walderdorff; Elector of Mainz; Friedrich Wilhelm II. Among the collections of such objects known by name can be mentioned: Musée des Arts Decoratives, Paris; Metropolitan Museum, New York; Bavarian National Museum, Munich; Louvre, Paris; Hermitage Museum, St. Petersburg; Samuel H. Kress Collection, London; Wallace Collection, London; Wörlitz Palace; Charlottenburg Palace; Victoria & Albert Museum, London; Niarchos Collection and many others. Literature: Cf. Josef Maria Greber, Abraham and David Roentgen, Möbel für Europa, vol. 1, Starnberg 1980, p. 79. Cf. Dietrich Fabian, Abraham und David Roentgen - Das noch aufgefundene Gesamtwerk ihrer Möbel- und Uhrenkunst in Verbindung mit der Uhrmacherfamilie Kinzing in Neuwied. Life and work. List of works and sources, Bad Neustadt/Saale 1996. Cf. Dietrich Fabian, Abraham and David Roentgen. From carpenter's workshop to art furniture manufactory, Bad Neustadt 1992. Cf. Dietrich Fabian, Goethe's roll-top desk for Frau von Stein, Bad Neustadt 1978. Cf. Otto von Falke, Das Roentgenbureau im Kunstgewerbemuseum, Berlin 1911. Cf. Josef Maria Greber, David Roentgen, the Royal Cabinet Maker from Neuwied, Neuwied 1948. Cf. Josef Maria Greber, Das Zylinderbureau der Frau von Stein, executed according to a design by Goethe, Vienna 1964. Cf. Georg Himmelheber, The craftmanship of David Roentgen, in: The Connoisseur, September 1967. Cf. Hans Huth, Abraham und David Roentgen und ihre Neuwieder Möbelwerkstatt, Berlin 1928 (1391171) (13) Rare, beautiful Roentgen box Height: 11 cm. Width: 24.5 cm. Depth: 17.5 cm. Neuwied, second half of the 18th century. The lively, differentiated appearance of the inlaid image - here set against a typically dark background - owes the use of a wide variety of fine grain woods, such as boxwood, lemon wood, ebonized pear wood and other types of fruit wood.

Estim. 8 000 - 12 000 EUR
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