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Sun 26 May

19th-century work based on a design by André-Charles Boulle (French, 1642-1732) Exceptional pair of ceremonial chests on legs in Boulle marquetry with red background: - The rectangular chests have domed tops and are partly decorated with reserves, facing acanthus scrolls and acanthus fleurons on a red ground tortoiseshell background, in ebony frames. Rich ornamentation of chased and gilded bronzes with lion-head barding and rosette spandrels at the corners, lion-mask handle on the top, drop handles on the sides in clasps with a profile of Louis XIV surmounted by a palmette; - The legs are also on a red tortoiseshell base; they feature a doucine on an apron belt with a female profile framed by bronze scrolls. The front jambs are joined by a crotch shelf centered on a radiating bronze. Chased and gilded bronzes such as corner palmettes, laurel lingotière and gadroon rings and frames. Ball feet with acanthus leaves. Original intaglio engraving on both tortoiseshell and brass. Chest: Height 35 Width 56 Depth 38.5 cm. Base: Height 82.5 Width 69 Depth 51.5 cm. Total height 117 Width 69 Depth 51 cm. (small chips and detachments) Provenance: former collection of the antique dealer Serge Markovic, Paris. French, 19th C. Based on a drawing by André-Charles Boulle. A pair of ormolu-mounted Boulle marquetry chests. UNE PAIRE DE COFFRES D'APRÈS BOULLE, by Brice Langlois André-Charles Boulle This pair of chests is a continuation of André-Charles Boulle's rich cabinetmaking output. Clearly, this type of furniture was invented at the end of the 17th century, inspired by Japanese lacquer chests. They were referred to by contemporaries of the Grand siècle as "cassettes", as in Étienne Moulle's 1702 inventory, or "coffre de toilette" in Boulle's Recueil gravés (see Alexandre Pradère, Les ébénistes français de Louis XIV à la Révolution, Chêne, 1989, p. 86). As some historians have pointed out, they can also be used as jewelry chests or medallions. The inventory of Boulle's workshop, dated April 4, 1700, confirms their presence. They are listed as "small chests with feet". The 1720 inventory, drawn up after his workshop burned down, mentions "twelve chests with their feet of various sizes and shapes". These coffrets with domed lids are evolutions of the coffrets known as "Grand Dauphin", made between 1684 and 1689, and decorated with a pine cone and large doucine (Los Angeles, Getty, 82.DA.109, Pradère, op.cit., p. 68). The greatest collectors Although these chests are more than a century apart from the originals, they faithfully reproduce André-Charles Boulle's design. With their partly red tortoiseshell veneer and rich ormolu ornamentation, our chests are similar to the one belonging to Baron François-Alexandre Seillière at Château de Mello (Christie's sale, December 8, 1994, in Calin Demetrescu, "Les ébénistes de la Couronne sous le règne de Louis XIV", Paris, La bibliothèque des Arts, 2021, p. 233, fig. 244). The base is different from another example decorated with an antique vase ("Le Dix-septième siècle Français", Paris, Hachette, 1958, p. 51). Other counterparts of the same design are also listed (Pradère, op.cit., p. 86). We should also mention a pair in brown tortoiseshell and counterparts (Christie's sale, London, December 8, 1994, in "André-Charles Boulle ébéniste de Louis XIV", in Dossier de l'Art, n°224, p.26). The 19th-century infatuation with the Sun King In the 19th century, taste for the Sun King was renewed by talented cabinetmakers Paul Sormani and Alfred Emmanuel Louis Beurdeley. In 1913, François Linke in turn copied the pair of "Sun King" cabinets placed in the Musée du Louverre in 1870 (in Christopher Payne, "Paris, La Quintessence du meuble au XIXe siècle", Monelle Hayot, 2018, p. 116). From the outset, Boulle furniture has been the privilege of the greatest collectors: in the 18th century, the husband of Marie-Antoinette's painter, Jean-Baptiste Le Brun, and in the 20th century, the sister-in-law of the President of the United States, Lee Radziwill. In the early 1960s, she posed for Mark Shaw's camera in a Lanvin dress, beneath a painting by Miro.

Estim. 30 000 - 50 000 EUR

Mon 27 May

Attributed to Léon Marcotte (French, 1824-1891) Library table in wood and blackened wood veneer, opening with a drawer in the waist. The rectangular top with rounded sides is upholstered in blue felt and surrounded by a pewter fillet and a corbin-bill moulding. The belt is decorated with pewter fillets, lapis lazuli, two repoussé brass plates with antique scenes and a laurel frieze. It rests on four column shafts with Corinthian capitals in chased ormolu, and ends in spinner feet. The X-shaped brace features a gadrooned vase topped by a pine cone. Napoleon III period. Height: 70 Length: 131 Width: 75 cm. (accidents, missing parts and restorations) Attributed to Léon Marcotte, Napoleon III Period. A blackened veneer wood library table with pewter, lapis-lazuli, brass and bronze ornaments. Related work: library table by Léon Marcotte, in the Metropolitan Museum, New York (no. 34.140.1). Bibliography: Denise Ledoux-Lebard, "Le mobilier français du XIXe siècle", Editions de l'Amateur, Paris, 2000, for a similar model reproduced on p. 470. After studying at the Ecole des Beaux-arts in Paris, Léon Marcotte moved to New York, where he worked as an architect. In 1849, he joined forces with his brother-in-law Auguste-Emile Leprince-Ringuet, the son of an upholsterer and cabinetmaker, to open two cabinetmaking workshops in Paris and New York. There, he developed a style known as "American-Ringuet". In 1860, he dissolved his partnership and set up his own business in New York, where he quickly became the most prominent decorator.

Estim. 500 - 800 EUR
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