DROUOT
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FURNITURE AND HISTORICAL SOUVENIRS

Paris Enchères - Collin du Bocage - 01 58 18 39 05 - Email CVV

Salle 5 - Hôtel Drouot - 9, rue Drouot 75009 Paris, France
Exhibition of lots
mardi 14 mai - 11:00/18:00, Salle 5 - Hôtel Drouot
mercredi 15 mai - 11:00/12:00, Salle 5 - Hôtel Drouot
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310 results

Lot 81 - Rosalie GROSSARD Louis V Joseph de Bourbon-Condé (1736-1818), Prince de Condé, from the collections of King Louis-Philippe at the Château d'Eu. Depicted in bust and uniform wearing the grand cordon and knighthood plaque of the Order of the Holy Spirit, the knighthood plaque of the Order of Saint Andrew of Russia and the Order of Malta in saltire, of which he was Grand Prior at the Grand Priory of Russia. The combination of these three decorations is quite rare on known portraits of the prince. Oil on canvas, marouflaged in an oval format in 1823, and brought back to a rectangular format a few years later to fit in with the Duchesse d'Orléans' Cabinet de Travail (1837-1848) at Château d'Eu. H. 62.5 cm; W. 54 cm Marks: painted on the canvas, top left, no. 893 (inv. no. former Rohan collection, Vienna). On the back of the canvas: mark LPO under open crown of prince of France for the collections of Louis-Philippe duc d'Orléans before 1830; mark EU under closed royal cover for the collections, from 1830 and at Château d'Eu, of Louis-Philippe d'Orléans who became king of the French (1830-1848) and inscription identifying the sitter and author of our portrait: "Louis Joseph de Bourbon, Prince de Condé, son of Louis Henri de Bourbon, Prince de Condé, and Caroline de Hesse-Rheinfels, born August 9, 1736: married May 3, 1753 to Charlotte Godefroide Elisabeth de Rohan: died May 13, 1818. / Painted by R. Grossard." Molded and gilded frame. Provenance: -Commissioned in 1823 from Rosalie Grossard by Louis-Philippe duc d'Orléans, future King of the French, for the Château d'Eu. -Cabinet of the Duchesse d'Orléans, née Hélène de Mecklembourg-Schwerin, located on the first floor north of the Château d'Eu (1837-1848). -Mentioned on February 4, 1857, under no. 385, in the inventory of paintings from the Château d'Eu belonging to the widow of King Louis-Philippe, Queen Marie-Amélie, then in exile in England at the Château de Claremont (Arch Nat. Fonds Nemours-Chaponay of the archives of the House of France, 300APIV174) -Given by Queen Marie-Amélie of the French to her son Louis d'Orléans, Duc de Nemours. -By descent -Then former Rohan collection in Vienna. This very interesting portrait of the Prince de Condé was commissioned in 1823 from the painter Rosalie Grossard by Louis-Philippe Duc d'Orléans for the collections of his Château d'Eu. It is mentioned at the Château d'Eu as early as 1824 by Jean Vatout, who lists it under no. 235, as painted in 1823 by Mlle Rosalie Grossart and oval in format. A few years later, Jean Vatout mentions it again in 1836, still in the Château d'Eu collections, but under inventory no. 385 and with a now rectangular format, as confirmed under the July Monarchy by the plate describing its location in the Duchesse d'Orléans' Cabinet de Travail at the Château d'Eu between 1837 and 1848. The dimensions indicated on the plate correspond to those of our painting, which was then embedded in wood panelling (see Illustration - DR. ADMN). There were two other portraits of the Prince de Condé from the Château d'Eu, listed in the sale of the Dukes of Vendôme, descendants of King Louis-Philippe and the Duke of Nemours, which took place at the Château de Tourronde in 1950 under nos. 385bis and 385ter, but their dimensions do not correspond to those of our painting. Consequently, our present portrait, although it does not have a number corresponding to the inventories of King Louis-Philippe's collections at the Château d'Eu (perhaps lost under repainting or when the stretcher on the back of the canvas was changed), because it has as its model the Prince de Condé indicated painted by Mlle Rosalie Grossard on the back of the canvas, where the marks of Louis-Philippe's collections Duc d'Orléans before 1830 and Château d'Eu from 1830 to 1848 also appear, and that its original oval format was changed to a rectangle, identifies our present portrait without a doubt as the one of the prince mentioned in oval format in the Château d'Eu collections by Jean Vatout, as early as 1824 under no. 235 and again in 1836 under no. 385, in other words as the first and oldest version of the three portraits once in King Louis-Philippe's collections in Eu. Louis-Joseph de Bourbon-Condé, known as "le Prince de Condé", only son of Louis-Henri de Bourbon-Condé, was born at Château de Chantilly on August 9, 1736, and married Charlotte Godefride de Rohan in 1753, with whom he had four children. A friend of the arts, the Chantilly estate owes him the construction of the Jeu de Paume in 1756 and, from 1769 to 1772, the Château d'Enghien, a long classical building to the right of the main entrance. In 1774, he designed the Anglo-Chinese garden at Chantilly and built the Hameau, a group of five rustic houses that inspired

Estim. 1 500 - 2 000 EUR

Lot 87 - Cesare Roccheggiani (Attrib. to), Rome, last quarter of the 19th century. Rare and beautiful micro-mosaic plaque depicting St. Peter's Square in the Vatican. 24 x 30.5 cm Our micro-mosaic plaque depicts a finely detailed panoramic view of St. Peter's Square, composed of tiny tesserae blending together to create a harmonious representation of the famous monument. The cornflower tiles gradually fade to a pale blue, creating an impression of depth all the way to the horizon. St. Peter's Basilica is depicted, framed by Bernini's famous colonnade, with the emblematic obelisk at the center of St. Peter's Square, drawing the viewer's eye at the same time. Mosaics have a rich history dating back thousands of years. Often used to adorn monuments in ancient Greece and Rome, early Christian structures also used this medium to great effect to embellish ceilings and walls. Reminiscent of the interior mosaic decorations of St. Peter's Basilica, from the 17th to the 19th centuries micro-mosaics gained in popularity and became synonymous with Vatican craftsmanship, in particular the Vatican Mosaic Workshop, established in 1576. In the days of the Grand Tour, it became customary for visitors to take home a small piece of their journey, in the form of a micro-mosaic. These micro-mosaics were often small-scale replicas of the altarpieces in St. Peter's Basilica, or representations of the square itself, allowing visitors to capture the memory of their stay at the sacred monument. Proving both easy to transport and extremely beautiful, micro-mosaics were often transformed into jewelry, snuffboxes and small panels as the most precious souvenirs from the 17th to the 19th century. Our micro-mosaic plaque, depicting St. Peter's Square, can be attributed to Cesare Roccheggiani (late 19th century), one of the most famous micro-mosaic artists of the period, for his fine detail, realism and dynamic composition. Because of his illustrious reputation and talent, Roccheggiani's works became among the most sought-after micro-mosaics of the late 19th century. Provenance: -Sir Francis Neville-Reid at the Villa Rufolo di Ravello -His heirs Cesare Roccheggiani (Attrib. to), Rome, last quarter of the 19th century. Rare and beautiful micro-mosaic plaque depicting St. Peter's Square in the Vatican. 24 x 30.5 cm Our micro-mosaic plaque depicts a finely detailed panoramic view of St. Peter's Square, composed of tiny tesserae blending together to create a harmonious representation of the famous monument. The cornflower tiles gradually fade to a pale blue, creating an impression of depth all the way to the horizon. St. Peter's Basilica is depicted, framed by Bernini's famous colonnade, with the iconic obelisk at the center of St. Peter's Square, drawing the viewer's eye at once. Mosaics have a rich history dating back thousands of years. Often used to adorn monuments in ancient Greece and Rome, early Christian structures also used this medium to great effect to embellish ceilings and walls. Reminiscent of the interior mosaic decorations of St. Peter's Basilica, from the 17th to the 19th centuries micro-mosaics gained in popularity and became synonymous with Vatican craftsmanship, in particular the Vatican Mosaic Workshop, established in 1576. In the days of the Grand Tour, it became customary for visitors to take home a small piece of their journey, in the form of a micro-mosaic. These micro-mosaics were often small-scale replicas of the altarpieces in St. Peter's Basilica, or representations of the square itself, allowing visitors to capture the memory of their stay at the sacred monument. Proving both easy to transport and extremely beautiful, micro-mosaics were often transformed into jewelry, snuffboxes and small panels as the most precious souvenirs from the 17th to the 19th century. Our micro-mosaic plaque, depicting St. Peter's Square, can be attributed to Cesare Roccheggiani (late 19th century), one of the most famous micro-mosaic artists of the period, for his fine detail, realism and dynamic composition. Due to his illustrious reputation and talent, Roccheggiani's works became among the most sought-after micro-mosaics of the late 19th century. Provenance: -Sir Francis Neville-Reid at Villa Rufolo di Ravello -His heirs

Estim. 4 000 - 7 000 EUR