Two ladies' pocket watches. Engraved case. GG 14 K. Plate marked". Remontoir Cylindre10 Rubis". Remains of enamel. Weight 22g. Comes with pocket watch silver 800.
Biedermeier clock. Austria, 19th century. Softwood, mahogany veneer. Box-shaped clock case on a rectangular base, stepped finial. White enamel dial with Arabic hours. Mounted. Striking mechanism on bell. Pendulum on thread suspension. Rate not tested. Damaged. H: 36 cm. Damaged. Comes with a carved and gilded wooden portal case, dam. H: 45 cm.
Portico clock. Rectangular veneered mahogany case, portico with four columns. White enameled dial, Arabic numerals. Pendulum on thread suspension, hour strike on clay spring. H: 40.5 x 26 x 15 cm. Key. Movement not tested.
Portal clock. France, 2nd half of the 19th century. Ebonized wooden case on a rectangular base with inlay work. Turned pigtail columns. Spring suspension. Half hour strike with repeater. Key. H: 48 cm. Min. dam. Running time not tested.
Stick clock. England, 18th/19th century. Mahogany case. Engraved brass dial with Roman and Arabic numerals. Marked "Potman London". Half hour strike with repeater, key. H: 40 cm. Min. dam.
Portal clock. 2nd half 19th century. Mahogany veneer. In the form of a portico with four columns on a rectangular base, gilt bronze. White enamel dial, Roman numerals, pendulum on spring suspension. Hour strike on bell. Show pendulum. H: 51 x 26.5 x 14.5 cm.
Empire pendulum. France, 19th century Bronze, finely chased and gilded. Rectangular, stepped base, chased barrel feet, garland frieze and a putto playing music. Crowned clockwork and attributes of a gardener above. Dial with Roman hours. Pendulum on thread suspension, lock plate striking mechanism on bell. Key. H: 38 x 28.5 x 10 cm. Numbers partially traced.
Paul SERUSIER (1864-1927) "Laveuse au Pouldu" circa 1890, Oil on canvas, studio stamp lower left, 94 x 60 cm
Bibliography:
Boyle-Turner, Caroline, Paul Sérusier, 1983, UMI Research Press, Anne Arbor, Michigan, reproduction of screen fig. 27.
Guicheteau, Marcel, Paul Sérusier, tom I, 1976, Editions Sides, Paris, no. 38 p. 204, reproductions p. 20 and 204.
Provenance: Private Collection
Sale Brest, Thierry-Lannon Associés SVV, May 11, 2003, lot 226.
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"The Dutch painter Jan Verkade, who befriended Paul Sérusier in Paris in 1890 and followed him to Huelgoat, recalls the interest of his fellow members of the Nabis group in the applied arts (D. Willibrord Verkade, Le Tourment de Dieu. Étapes d'un moine peintre, 1923): 'Towards the beginning of 1890, a battle cry was raised from one studio to another: No more easel paintings! Down with useless furniture! Painting must not usurp a freedom that isolates it from the other arts. The painter's work begins where the architect considers his to be finished. Walls, walls to decorate! Down with perspective! The wall must remain a surface, not be pierced by the representation of infinite horizons. There are no paintings, only decorations!
These phases well express the state of mind of Sérusier and his friends Maurice Denis, Pierre Bonnard, Édouard Vuillard, Ker-Xavier Roussel and Paul Ranson. He showed them Le Talisman (Paris, Musée d'Orsay) brought back from Pont-Aven and told them about the masterly lesson given by Paul Gauguin. They were fascinated by Gauguin's Breton works and eagerly discovered the art of Japanese prints, which were a hundred leagues away from the representational principles of Western painting. From their very first meetings and theoretical reflections, they asserted their desire to break down the boundaries between fine and applied arts, and set about creating wall decorations, screens, book illustrations, theater sets and costumes, posters and stained glass.
Sérusier's Laveuse au Pouldu is a perfect example. It was conceived by the painter as the decoration for one leaf of a four-leaf folding screen, now dismembered (another leaf has been presented for sale by Thierry-Lannon & Associés in Brest on December 9, 2023).
The choice of screen illustrates the painter's interest in Japanese art. He chose an untreated unbleached linen canvas as the colored background for the landscape, and for the sake of simplicity, he used only four colors sparingly arranged on this plain background. White is used to punctually represent the linen in a basket, the washerwoman's headdress and the piece of linen she is waving in the water, but it is also used, in the form of small juxtaposed dots, to improbably evoke the clouds on the horizon. The patches of green, scattered across the dune, correspond to the sparse vegetation that grows there. But the same green is used to represent the sea stretching over the edge of the dune, and even in the water of the washhouse. Sérusier focuses the eye on this subject, isolated in the vast emptiness of the composition. In this uncertain place, between dune and moor, as was the case at Le Pouldu, he imagined a spring and symbolically associated it with a weeping willow. A woman dressed in black with a red apron kneels at the water's edge in a wooden box, the "washerwoman's carriage". In Le Pouldu, there were several washhouses, and Sérusier rubbed shoulders with the women who used them. But he prefers to depict a simple pond where a single washerwoman works, as if there were a link between her solitude and the isolation of the place. This choice is part of an approach that consists in depicting, through symbolic means - theme but also shapes and colors - the relationship between a place and the people who live there. Fleeing the crowds of painters and tourists at Pont-Aven, Gauguin had clearly understood what an isolated place like Le Pouldu could offer him in his process of introspection. Guided by Gauguin, the young Sérusier radically evolved and progressed, in parallel with his formal research, in his reflection on the place of reality in his paintings and on the importance of symbolism in his representations. This Laveuse au Pouldu, with its formal audacity in the service of a banal theme, is one of the milestones in Sérusier's career, which was to unfold at Huelgoat and then at Châteauneuf-du-Faou. André CARIOU
Lyre clock in gilded broze and white marble, the circular enameled dial with Roman and Arabic numerals, marked "Le Nepveu à Paris", flanked by two female busts and surmounted by the mask of Appolon surrounded by two rooster heads. Louis XVI period.
H: 54 cm
Maison GRAUX -MARLY (founders) after a model attributed to Jean-Baptise CARPEAUX.
Important gilt bronze mantelpiece, the clock surmounted by a group depicting the Aurora on its chariot rising from the sea; the circular dial with enameled Roman numeral lozenges, engraved "GRAUX-MARY à PARIS 8 R du PARC ROYAL"; framed by two candelabras with five arms of light supported by allegorical figures.
Circa 1870.
Dimensions: clock H. 67 W. 62 D.30
candelabra H.87 W.42 D.20
(one candelabra branch damaged)
Related works: Christie's New York sale, A Park Avenue Interior by Mark Hampton, June 6, 2011, lot 130
Bibliography: M. Poletti & A. Richarme, Jean-Baptiste Carpeaux: Sculpteur, catalog raisonné of published works, 2003, p. 31 and pp. 175-177
P. KJellberg, Les bronzes du XIXe siècle (dictionnaire des sculpteurs), Paris, les éditions de l'amateur, 1989, p. 660. - 3
The Graux-Marly foundry, established in Paris at 37 boulevard du Temple from 1845, then at 8 rue du Parc Royale from 1862, built its reputation on the production of spectacular decorative bronze pieces inspired by Antiquity, the Renaissance and the 17th and 18th centuries, as well as by the great sculptors of its time, such as Barye, Carpeaux, Frémiet and Carrier-Belleuse. The company took part in and won awards at the 1849, 1855 and 1878 World's Fairs.
Floor clock, the molded oak case carved with a flowering vase, inscribed 1 MAY 1783. Brass and bronze movement, enamelled dial with Roman and Arabic numerals. Height 230cm, W. 33 cm, D.24 cm (restored).
Large floor clock, molded and waxed pine case, enameled plate dial with Roman numerals surmounted by an openwork brass pediment. 18th c. H. 270 cm, W. 45 cm, D. 35 cm
Lot of 14 jewelry drawings on tracing paper (some mounted on cardboard) in pencil heightened with polychrome gouache, mainly in white jewelry and diamonds, including: four drawings of ladies' wristwatches, three drawings of V-shaped link workshops heightened with diamonds typical of the 1955/60 period, and four drawings of string link bracelets circa 1945/50.
Paul TOUZET, a designer and jeweler active from the 1940s to the 1970s, worked in the family tradition for VAN CLEEF & ARPELS, BOUCHERON and STERLE. He is also said to have worked with Georges BRAQUE and Jean COCTEAU on their jewelry. His creations are typical of French and Parisian jewelry production during the Trente Glorieuses.
Expert: Alexandre Léger.
Lot of 20 jewelry drawings on tracing paper and light-blue paper in pencil heightened with polychrome gouache, including two drawings of brooches holding a collar watch, two drawings of twisted heart pendants, a set of preparatory drawings for cufflinks and signet rings, six jewelry designs from 1945/55, notably with gold threads and twists, and five designs strongly inspired by the Sterlé collections with stylized pineapple motifs, sometimes enhanced with blue enamels, diamonds and cabochons of turquoise and moonstone.
Paul TOUZET, a designer and jeweler active from the 1940s to the 1970s, worked in the family tradition for VAN CLEEF & ARPELS, BOUCHERON and STERLE. He is also said to have worked with Georges BRAQUE and Jean COCTEAU on their jewelry. His creations are typical of French and Parisian jewelry production during the Trente Glorieuses.
Expert: Alexandre Léger.
Yellow gold 750°/°° (18k) pendant/watchwinder set with an orange marmorated glass intaglio of an antique-style man, surmounted by two birds in the round. H: 8 cm. 27.61 g gross.
LONGINES. Ladies' watch in 750°/°° (18k) yellow gold with signed circular dial, fine link bracelet. L: 17 x D: 1.5 cm. 21.72 g gross. In case also signed (wear).
OMEGA. Ladies' watch in 750°/°° (18k) yellow gold, square dial with rounded corners signed (Swiss hallmarks), quartz movement, interlocking twisted link bracelet (French eagle head hallmarks). L: 17.5 x D: 2 cm. 28.36 g gross. In a case also signed.
JAEGER LECOULTRE. Military watch with steel case numbered 23566, signed circular dial with Arabic numerals and railway, mechanical movement, black leather strap. Circa 1948. D: 3.2 cm. Sold with purchase invoice dated September 9, 1948. Slight oxidation to the dial.
FREDERIQUE CONSTANT. Ladies' watch with steel case signed and numbered 1050621, circular dial with Roman numerals, days, date and lunar phases, crocodile-style brown leather strap. D: 3 cm. Sold with original box.
Yellow gold gousset watch 750 °/°° (18k, horse hallmark), enameled dial with Roman and Arabic numerals, railway track and seconds dial, case signed "Lebon rue Montorgueil 45". D: 4.5 cm. 78.24 g gross.
Gilt brass officer's clock. Dial signed "L'épée, Sainte Suzanne, France". Beveled glass. Height: 14.5 cm. A Second Empire globe with blackened wood base.
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