Wednesday 26 Jun at : 14:30 (CEST)


Giquello - +33147427801 - Email CVV

Salle 9 - Hôtel Drouot - 9, rue Drouot 75009 Paris, France
Exhibition of lots
mardi 25 juin - 11:00/18:00, Salle 9 - Hôtel Drouot
mercredi 26 juin - 11:00/12:00, Salle 9 - Hôtel Drouot
Information Conditions of sale
170 results

Lot 18 - Rare octagonal box, pyxis, core of stained softwood, veneered with ebony, bone, red paste and bronze. Each side is adorned with an openwork plate of eight eight-pointed stars on two columns in a frame with red paste remains; the body is outlined with fillets at top and bottom; the lid is geometrically decorated with a frieze arrangement of interlaced braids forming an eight-pointed star; bronze trim consisting of hinges, false angles and lanceolate-ended feet, a hinged hasp with a closing plate with trefoil corners featuring three triggers for the passage of a pin, and a movable top suspension ring. Spain, Nasrid period, Granada, 14th/15th century Overall height 13 cm - Overall width 11.7 cm Box alone, H. 10.9 cm - W. 10.1 cm (slight deformation of the lid) This pyxis, which has come down to us in an excellent state of preservation, belongs to a fairly limited corpus of boxes made in al-Andalus featuring ivory or bone plaques with openwork eight-pointed star motifs. Of very similar dimensions, five have been catalogued to date: Private collection, León (fig.a), Instituto Valencia de Don Juan, Madrid, inv. 4867 (fg.b), London Sotheby's sale, June 10, 2020, lot 87 (fig.c), Museum of Decorative Arts, Madrid, purchase 2023, inv. CE 30485 (fig.d), David Collection, Copenhagen, inv. 1/2017 (fig.e). They come from workshops on the Iberian Peninsula during the Muslim occupation, and borrow their technique and decoration from the Arab art of the Maghreb. Several scholars have studied this production and agree that it dates back to the kingdom of Granada, under the Nasrid dynasty (1238-1492). The originality of the box presented here lies in the simplicity of its decoration, which does not use the fine geometric marquetry technique known in Spanish as taracea that can be seen on the five other examples mentioned above. The use of these boxes remains to be determined: some art historians see them as inkwells, others as pyxes, as some were sold by monasteries. The latter hypothesis seems plausible in view of the geometric layout used by Andalusian craftsmen under Muslim rule, which depicts stars as well as crosses. Works consulted : - Á. Galán y Galindo, "Evolución de las técnicas de talla en marfil" in Boletin del Museo Arqueologico Nacional, 29-30-31/2011-12-13, I, p. 5-64 - N. Silva Santa-Cruz, "Entre la ebanisterai y la eboraria: Un probable tintero (Dawät) nazarí y otras taraceas medievales" in Codex Aquilarensis, 31/2015, p. 233-258

Estim. 12 000 - 15 000 EUR

Lot 34 - Processional cross, walnut core, silver repoussé, chased and gilded, applique figures, remnants of black, green and blue enamels. Branches with redents ending in a quatrefoil, rim decorated with spherical elements, decoration of rosettes and rosettes, flowery scrolls on the edges. Front: Christ with head tilted to the right shoulder, draped perizonium with lateral fall, superimposed feet; busts of the Virgin Mary, Saint John, God the Father blessing and Mary Magdalene. Reverse: at the intersection, St. Francis receiving the stigmata, surrounded by the Tetramorph. Spherical gilded copper knot, adorned with four engraved silver medallions depicting Saint Sebastian, the Nativity, Saints Gervais and Protais and a saint in front of ramparts holding a monstrance (?) in his right hand. Italy, Abruzzo or Marche, entourage of Pietro Vannini (Ascoli, circa 1413 - 1496), mid-15th century H. 61.5 cm - L. 39.5 cm Molded walnut base Total H. 75.4 cm - Total weight: 3.541 kg (missing spherical elements, minor accidents, later rings, possibly associated knot from the same period and of comparable quality). The workmanship of this processional cross is of fine quality and its state of preservation remarkable, apart from some loss of enamel. The associated knot, with its large silver medallions and finely chased circles, also testifies to the work of a major silversmith. In comparison with the large processional cross in the Musée de Cluny, attributed to Pietro Vannini (inv. Cl. 9927, fig. a), the sconce figures here can be compared to the work of this Ascoli silversmith (figs. b and c). Works consulted - Sculture preziose. Oreficeria sacra nel Lazio dal XIII al XVIII secolo, Rome, 2015, p. 102-103 and p. 206-207 - Emile Bertaux, "Trésors d'Eglises. Ascoli Piceno et l'orfèvre Pietro Vanini", In: Mélanges d'archéologie et d'histoire, vol. 17, 1897, pp. 77-112 - Giuseppe Clerici, "Cultura e oreficeria del Quattrocento marchigiano: Pietro Vannini", In: Storia dell'arte, Nuova serie, n. 11, 2005, p. 35-58 - Ilaria Pecorelli, "Pietro Vannini's processionnal cross", In: Revista chileno-española, académico científica de humanidades, arte y cultura, no. 7, March 2020

Estim. 12 000 - 15 000 EUR

Lot 38 - Rare bridal sash in pink-brown silk lampworked with gold thread and elements in nielloed silver, chased silver and gilt. Inscriptions woven on the ribbon: SOLA*FIDES (fidelity alone) separated by rosettes and entwined hands, mani in fede (literally hands in trust); twelve eyelets (not pierced) in the form of leaning fleurons have been preserved; each end terminates in a scudiccinolo, buckle plate and pendant ; these scudiccinoli are divided into three compartments, decorated with two putto heads framing a flaming, bleeding heart for one, and double-sided for the other, showing the vertical, inverted profiles of a couple separated by a shield bearing the arms of....with a cross at the foot of ... under a floral crown; each scudiccinolo is chased with various motifs, putto, accosted foliage, colonnettes, floral capituli, fleurons and small rosettes; hallmark on the reverse of the plate; chain attached to the pendant ring. Northern Italy, second half of the 15th century Total length 173.3 cm - plate-loop length 11.2 cm - pendant length 11.4 cm Total weight: 144 g (ribbon wear and restoration) Few complete belts have survived, given the fragility of silk ribbons. Among these are a Milanese belt in the Museo Poldi Pezzoli in Milan (fig. a), another in the British Museum (inv. AF.2851), but displayed in several detached pieces, another given as 14th-century Sienese in the Cleveland Museum (fig.b) and a Venetian belt of the same period in the Metropolitan Museum of Art (inv.17.190.963, fig. b). Although niello is rarely found on gold-plated items, the Louvre Museum holds a buckle with a bust in profile, Italy circa 1500 (inv.0A 11114, fig. c), and two scudiccinoli of the same workmanship as the belt shown here have come to the Dutch art market in recent years, made in a workshop very close to northern Italy (fig. d). The flaming heart represents the ardent love between the bride and groom, with the drops of blood expressing an even higher degree of love. It can be interpreted as both a profane and sacred symbol. This polysemy is accentuated by the repeated inscription SOLA*FIDES, which can signify the trust placed in the other as part of marriage, but also the importance and uniqueness of Faith in God. The embracing hands embody the firmness of the love uniting the two spouses. The coats of arms are identical on each side of the pendant, although they could be different and thus illustrate the two families united by this marriage, as is the case on the belt in the British Museum. As they could not be identified in the various armorials of the Italian nobility, it is possible that these coats of arms are more decorative than symbolic, and cannot be linked to a specific family. The Gonzaga family, head of the Marquisate of Mantua, has the motto FIDES, but it is impossible to deduce a link with the belt. Many Lombard cities (including Mantua) have the coat of arms Argent with a cross Gules. Works consulted : - A. Masetti, "Una cintura nuziale con smalti" in Annali della Scuola Normale Superiore di Pisa. Classe di Lettere e Filosofia, 1988, Serie III, Vol. 18, No. 1, p. 231-259 - R. W. Lightbown, Mediaeval European Jewellery, Victoria and Albert Museum, 1992, pp. 319-341 - J. Hall, Dictionnaire des mythes et des symboles, Paris, 1994, p. 110-111 - Milan 2011/2012 exhibition, Oro dai Visconti agli Sforza. Smalti e oreficeria nel Ducato di Milano, Museo Diocesano, cat. p. 188-191

Estim. 7 000 - 10 000 EUR

Lot 51 - Marble bas-relief depicting the right profile of Galéas Marie Sforza (1444-1476), in a molded frame. Dressed in a pourpoint with a collar highlighted by a beaded ribbon, the Duke of Milan has an aquiline profile, a heavy chin and medium-length hair with very slightly wavy locks. Inscription GA[LEAZZO] M[ARIA]. Lombardy, circa 1460/70 H. 36 cm - L. 24 cm Lead fastener on reverse (small accidents and missing edges, broken and glued back together, especially at the neck). Galeazzo Maria Sforza, fifth Duke of Milan and brother of Ludovico il Moro, is reputed to have been a tyrannical, depraved, perverse prince of patronage and uninspired governance. He was assassinated at the age of 32, on Boxing Day 1476, the victim of a conspiracy by three officers of the Milan court, including a Visconti, a family allied to his own. Two marble tondi in French public collections depict his portrait with its characteristic profile, one in the Musée des Beaux-Arts de Lyon and the other in the Musée du Louvre (inv. RF 1631, fig.). Both date from the end of the 15th century, and show an image of an older duke, probably corresponding to that shortly before his death, unlike the latter where he is depicted as a young man. More stylized in style, this profile is surprising in its precision, highlighting without complacency the particular features of this character, his busted nose spilling over the frame. Book consulted : - G. Bresc-Bautier sous la dir. de, Les sculptures européennes du musée du Louvre, Paris, 2006, p. 241

Estim. 1 200 - 1 500 EUR

Lot 52 - Rare reliquary bust of a Franciscan saint, with carved and gilded wooden bust and gilded cartapesta head. Wearing a simple monastic habit with a raised collar and indented braces, the saint presents a massive face with a severe expression treated like a portrait: tonsured hair, wrinkled forehead, small almond-shaped eyes emphasized by crow's feet, strong nose, emaciated cheeks, tight mouth with a slightly fleshy lower lip, wide jaw. Removable head with a small square opening at the back, closed by a gilded wooden (beech) door, formerly fitted with a lock. Suspension rings on the sides of the head. Tuscany, second half of the 15th century H. 40.5 cm - L. 41.5 cm Base upholstered in pink silk velvet (worn) (minor damage and missing parts) The severity of this bust's forehead is fascinatingly realistic, reminiscent of certain busts of dignitaries from the Florentine Quattrocento period. The poverty of the materials, wood and cartapesta, offset by the thick gilding, is probably the choice of a community of Franciscans who took vows of poverty in accordance with their patron saint. However, the skilful use of this technique did not prevent the bust from taking on a certain preciousness in imitation of a piece of goldsmith's work. The use of papier-mâché has made it possible to obtain a hollowed-out head to preserve the relic, which would not have been possible in a piece of wood. Florentine artists had mastered the art of making sculptures in stucco or cartapesta, a technique that had the advantage of being inexpensive and light. Provenance : - Sale Paris, Hôtel Drouot, Me Ader, December 7, 2009, exp. Raud, lot 165, as Italian work late 16th/early 17th century

Estim. 5 000 - 7 000 EUR

Lot 54 - Female head, ? recumbent, in applied limestone with traces of monochrome on the cheeks. Oval face with eyes slit to the temples, swollen eyelids, well-defined mouth with upturned corners, round chin; hair divided by a median parting covered by a pleated veil. Languedoc, around the Master of Combefa, late 15th century H. 14.5 cm - L. 12 cm - Th. 8 cm (minor scratches, mainly on the nose) This astonishing head shows traces of gradine on the upper and right side of the veil, suggesting that it was placed under a canopy. The highly individual stylization of the eyes and the careful treatment of the lips, as well as the quality of the limestone used, are reminiscent of the characteristics of Languedoc sculpture. A case in point is the Mise au tombeau from Monestiés-sur-Gérou (Tarn) (fig. a and b). This exceptional polychromed limestone ensemble comprises a Christ on the Cross, a Lamentation and a Entombment, with no fewer than twenty figures. Before being placed in the chapel of the Hôpital Saint-Jacques in Monestiés, it had been commissioned by Louis d'Amboise for the chapel of his Château de Combefa, consecrated in 1490. Although several hands are acknowledged to have worked on this commission, a common typology emerges in the physiognomy of the female faces, recognized as unique in the art of medieval statuary. The anonymous master who inspired this very particular style was referred to by default as Maître de Combéfa in Jacques Baudoin's book on Rouergue and Languedoc. Provenance : - Former Périgord collection for over twenty years. Book consulted : - J. Baudoin, Rouergue - Languedoc, La sculpture flamboyante, ed. Créer, Nonette, n.d., p. 249-257

Estim. 3 000 - 4 000 EUR

Lot 77 - Carved and engraved bovid horn shoehorn with black highlights. The very tapered shape is divided into four registers separated by friezes of hatching or interlacing; from top to bottom, a group of fruits, a young soldier with a sword and a shield, wearing a feathered hat and a ruff around his neck, a lansquenet holding a spear, a sword hanging behind him, a couple in Renaissance costume, the woman raising a cup with her left hand, the man seated next to her, both carrying a strawberry; date 1593 in the field; turned and panelled end-piece. Germany or Flanders, late 16th century, 1593 L. 47 cm (the flared end is slightly missing) This shoehorn is one of those objects for everyday use, made of inexpensive materials but decorated with refinement and refinement, featuring picturesque or heroic characters. A number of horn shoehorns are listed in museums, some bearing inscriptions or dates. The name of a craftsman, Robert Hendart Mindum, active in England from 1593 to 1613, is known to have signed several of these objects; it is thought that he was of Walloon origin, or that he was a French Huguenot who crossed the Channel following the Wars of Religion, prior to the promulgation of the Edict of Nantes in 1598. His workmanship, however, is slightly different from that of the shoehorn shown here, which is more closely related to a later example in the Louvre, dated 1623 (inv. 0A.190, fig.a, a'). This same workshop, like Mindum's, also produced gunpowder flasks, as can be seen by this one, also in the Louvre, featuring an armed man with a stump under his legs, as seen here on the two upper registers (fig.b.). Book consulted : - P. Malgouyres, Ivoires de la Renaissance et des Temps modernes, Paris, 2010, cat. 128 and 185, p. 186 and 235

Estim. 4 000 - 6 000 EUR

Lot 78 - Suite of four chased, engraved and gilt silver apostle spoons. Rounded spoon on reverse decorated with fleur-de-lys and interlacing; elaborate handle decorated, on one side, with a figure of an apostle under an arch (Paul, Andrew, John and James the Lesser), on the other, with a coat of arms with mantling and crowned helmet, surmounted by wings and a star, cherub's head on one side and on the other, panelled stem bearing a double-sided inscription in Polish: AT NARODIL . SE . Z . MARIE . PANNY / [...]IE : GENZ : SE : POCZAL . ZDVCHA // S : M : APO . SMRTI . ZIWOT . / . WIECZNY . * . AMEN . * . // GELISTA . TRPIEL . POD . PONTSKIM . PILAT / IZOVVAN . VMRZEL . APOHRZBEN . * . // S : IVDAS : TIELA . ZMRTWIC / WZKKISSENI . end decorated with a figure of Christ blessing and holding the orb. Unidentified but listed hallmarks, import hallmark with weevil. Poland ? late 16th century L. 20.2 cm - Total weight: 259.2 g (small accident to a spoon) The complete series of Apostle spoons numbered twelve. The earliest date from the end of the 15th century, and production seems to have stopped around 1660. It was customary in northern and central European countries to give them as baptismal gifts. Wealthier families had them made in silver, as shown here; a complete set or just one with the saint corresponding to the child's name was given. For more modest families, they were made from less expensive materials, such as pewter or brass. The National Museum in Krakow preserves two very comparable examples with liturgical inscriptions on the handles. It is remarkable to be able to present four from the same series. Works consulted: - A. Bochnak and K. Buczkowski, Decorative Arts in Poland, Warsaw, 1972, cat. 159, p. 202 - M. Rosenberg, Der Goldschmiede Merkzeichen, Berlin, 1928, vol. IV, p. 600

Estim. 3 500 - 5 000 EUR

Lot 91 - Six plates from a single suite in painted polychrome enamel with gold highlights, enamel on silver flakes and translucent enamel depicting scenes from the legend of Saint Martial de Limoges, one dated 1544. Salmon-colored counter-enamels, one bearing the Pénicaud hallmark on the reverse. - Saint Martial as a child witnesses the miracle of the multiplication of the loaves. - Saint Martial as a child is blessed by Christ. - Saint Martial resurrects Austriclinien. - God appears to Saint Martial and his companions in Limoges. Crowned PL mark on counter-enamel. - Saint Martial preaching. Dated 1544. - God appears to Saint Martial to announce his imminent death. Limoges, Jean II Pénicaud, mid-sixteenth century, dated 1544. H. 15 cm - L. between 20.5 cm and 21 cm (a few accidents and missing pieces, alterations to some enamels) Saint Martial, the first bishop of Limoges, was, according to Gregory of Tours, one of the seven Missionaries sent from Rome to evangelize Gaul. These plaques, illustrating the life of Limousin's patron saint, are part of an important series, estimated to number eighteen. This framed set was still preserved in 1765 in a chapel of the Abbey of Saint-Martial in Limoges, according to a contemporary account. It was subsequently dispersed, but the exact circumstances are unknown. Only three of these plates have so far been located, one belonging to the collections of the British Museum in London (inv. 1913,1220.15, fig.a) and two others sold in 2014 in Paris, pre-empted by the Musée des Beaux-Arts de Limoges (inv. 2014.8.1 and 2, fig.b and c). They represent, respectively, the Baptism of Saint Martial, Saint Valérie bringing her head to Saint Martial and the death of the Limoges saint. Of particular interest is the British plaque, probably placed at the beginning of the altarpiece and bearing the enameller's signature IOHA / NNES / MF / PENI / CAUD / IUS / IV, which identifies Jean II Pénicaud as the author of this important commission. It is noteworthy that the last of the six plates offered for sale, the one in which God appears to announce the saint's imminent death, uses the same background as the two plates now in the Musée de Limoges, which came from the collection of Baron Gustave de Rothschild (1829-1911). Several plates in the series, the two in the Musée de Limoges and the one from the Bardinet collection, where God appears against the background of the Limousin capital, bear the Pénicaud family hallmark, the crowned PL, which attests to the family's dual activity as goldsmiths and enamel painters. The six Bardinet plates were not completely unknown to art historians, however, as they had already been described in 1855, when they belonged to the Limoges collector, by the Monuments Historiques curator Maurice Ardant. In his book Emailleurs et Emaillerie de Limoges, he mentions a series of plaques depicting the Life of Saint Martial, produced in 1544. He describes the subjects and specifies their provenance: "These paintings, dated 1544, decorated the chapel dedicated to this saint in the ancient and vast church that bore his name". Following the acquisition by the Musée des Beaux-Arts de Limoges of the two Baron Gustave de Rothschild plates at the 2014 Christie's sale, curator Véronique Notin has published a remarkable article taking stock of this altarpiece illustrating the legend of Limoges' patron saint, reputed to have come from the Abbey of Saint-Martial. She publishes a summary table listing 16 plates, numbered from 1 to 16, with details of their location, provenance and presence in an exhibition. Illustrated by an old plate deposited at the museum (fig. d), taken at the end of the 19th or beginning of the 20th century, those in the Bardinet collection (nos. 4 to 9) are mentioned but not located. This is a genuine rediscovery. Unlike the two Rothschild plates, they have not been restored from chemical alterations, notably to the enamels on certain mantles, a condition that was already evident in the mid-19th century. Nevertheless, they bear witness to the quality of the artist Jean II Pénicaud, whether in the treatment of heads and hands, the brilliance of greens and blues, or the richness of his backgrounds, particularly in the view he gives of the city of Limoges, in which we recognize the Abbey of Saint-Martial (fig.e). It will now be possible to respond to Véronique Notin, former curator of the Musée de Limoges, who ended her article by mentioning the possibility of obtaining information on "architectural details of ancient monuments or monuments of ancient inspiration in Limoges, e

Estim. 25 000 - 30 000 EUR

Lot 94 - Two-handled bowl in painted polychrome enamel with gold highlights. Base decorated with the arms of Bishop Guillaume Le Boux argent, a chevron azure, accompanied in chief by two boar's heads erased sable, and in base by a bloodhound's head gules accolated argent; wing decorated with foliate scrolls in relief in reserves; under the foot, landscape with castle and rider; all around, rosettes and dots on a black background and gilded scrolls. Limoges, attributed to Jean-Baptiste Poyllevet, late 17th century H. 4.7 cm - L. 18.3 cm (some restorations, slight enamel chips, notably at the foot and rim) Jean-Baptiste Poillevet or Poyllevet, also known as Jean II Poyllevet, belonged to a family of Limoges enamellers. Practicing in the 1690s, he seems to have produced little. His style is characterized by a generous use of enamel, as shown here by the rinceaux and rosettes in high relief, and by the recurrent use of a cord motif visible under the heel and delimiting the reserves. Guillaume Le Boux, the patron or recipient of this lovely bowl, was the son of a boatman. His life was marked by a remarkable upward social mobility: he began his career as a college sweeper, and went on to become a Capuchin, an Oratorian, a parish priest and then Bishop of Dax from 1659 to 1666. In the same year, he was elevated to the see of Périgueux. It was when he asked for this last dignity that his friends would have said that "Boux was born a beggar, that he had lived a beggar, and that he wanted Périgueux (to die a beggar)". He remained bishop of Périgueux until his death in 1693. It was probably at the end of this episcopate that this bowl was made. Book consulted: - "Boux (Guillaume Le)" Biographie universelle ancienne et moderne, t. V, Paris, Michaud, 1812, p. 412

Estim. 1 000 - 1 500 EUR

Lot 99 - Ring with green chromiferous chalcedony and finely chased, openwork and enameled gold setting, white, red and black enamel. Square bezel set with a high-relief cameo depicting the head of a chubby child with a neck surrounded by a strawberry; ring with protruding fillet and lateral lugs, rounded bezel base adorned with protruding, ridged X-ribs. Cameo: Roman period, partly altered during the Renaissance Mounting: 16th century, circa 1570/80 H. 2.9 cm - Gross weight: 3.6 g (some missing enamel) Chromiferous chalcedony was widely used for jewelry and seals throughout the Roman Empire, only to see its use disappear after the 2nd century. The origin of this mineral is unclear, for although Pliny the Elder described it as originating in India, no deposits have ever been found there. It seems to have originated in Anatolia, present-day Turkey. This is probably a cameo depicting Eros, a widespread theme in Antiquity, as can be seen in many gem collections. It would have been adapted to Renaissance tastes by re-cutting the neck to form a collar to match the fashion of the time worn by children during the third quarter of the 16th century, as shown by the marble bust of a little girl in the Louvre Museum (inv. RF 1634, fig.a). The same museum also holds a ring with a similar but less refined setting, found in the Seine in 1841 (inv. OA 654, fig.b,b'). Works consulted : - R. Gennaioli, Le gemme dei Medici al Museo degli Argenti, Florence, 2007, pp. 355-357 - P. Vittellozzi, Tesori di una collezione privata intagli, cammei, gioielli, objets de vertu, Pérouges, 2017, cat. 131 and 132, p. 183 and 184

Estim. 20 000 - 30 000 EUR