Back to Calendar > June Auctions...
DROUOT
Thursday 27 Jun at : 10:00 (CEST)

June Auctions

Hampel - +4989.288.041.70 - Email

44, Schellingstrasse D-80799 Munich, Germany
Information Conditions of sale
PDF
See all the auctions Hampel
Live
Register
Reset all filters
1366 results

Lot 19 - 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

Lot 25 - 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

Lot 28 - 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

Lot 44 - Bedeutender Trentiner Sekretär - Height: 173 cm. Width: 94.5 cm. Depth: 55 cm. Signed and dated "Antonio Dallabonna di Trento fece nel 1854" on the top drawer of the writing insert. Trento, 1854. Four-bay base, flanked by slender volute stringers. Superstructure separated by an outstanding profile and flanked by sham-channeled columns with profile rings. Overhanging cornice with wavy band and leaf frieze. Excellent structural work in larch wood, the interior of the body veneered with walnut, the visible sides of the body and the interior inlaid with marquetry in various precious woods such as maple, walnut, walnut burl, boxwood shaded with thin ink, cherry, olive and cedar. All drawers and inserts are made of cherry and maple with ebonized maple. Clear, strict ornamentation and clear arrangement in the spirit of classicism, with some references to Egyptian taste. Geometric inlays using acanthus leaves, palmettes, rosettes and ornamental friezes and borders. The front flap shows Achilles mourning the death of Patroclus after the painting by Gawin Hamilton (1723-1798). When the flap is open, the center shows Cupid captured by Diana and her companions, flanked in mirror image by Diana on both sides of the inserts. After removing the middle insert, the three Graces are shown in three images. Three keys present. Provenance: Formerly in the collection of the Counts of Ladron-Laterano, Castell Romano, Trento, according to the consignor's tradition. Since then in the possession of southern German nobility. Note 1: Enclosed is a restoration report by Ulrich Grams, Munich, 2022. Note 2: The above artist also made a precious inlaid cabinet from 1853, which was reviewed in the Gazetta der Tirolo Italiano on July 1, 1853. (1361271) (13) Important bureau Trentino Height: 173 cm. Width: 94.5 cm. Depth: 55 cm. Signed and dated in top drawer of countertop "Antonio Dallabonna di Trento fece nel 1854". Trentino, 1854. The front flap shows Achilles Lamenting the Death of Patroclus after a painting by Gavin Hamilton (1723-1798). When opened, it shows a depiction of Cupid Captured by Diana and her Companions at center, flanked by Diana in mirror-image on the inserts on both sides. After removing the central insert, The Three Graces are shown on three pictures. With three keys. Provenance: According to the tradition of the consignor, formerly held in the collection of the Counts of Lodron-Laterano, Castel Romano, Trentino. Since then, held in South German aristocratic estate.

Estim. 10 000 - 15 000 EUR

Lot 76 - Ausziehbarer Esstisch im George III-Stil - Height: 80 cm. Width: 204 cm. Depth: 156 cm. Maximum length: 10 meters. England or Italy, first half of the 19th century. Attributed to Henry Thomas Peters of Genoa in the consignor's history. Wood, veneered and marked. Central base with a pressed shaft in relief resting on four feet formed from lion's paws and fluted volutes set with acanthus. The frame supported at each end by two legs formed from volutes with foliage reliefs on lion's paw feet. Frame with fluting framed by hollow profiles. Top veneered, profiled at the edges and with three concentric contrasting marquetry rings. Can be extended several times and fitted with inlay panels. Minimally dam. Annotation: Henry Thomas Peter's professional career is difficult to determine, but it is assumed that he trained in England. He came to Genoa around 1817 and around 1824 maintained a workshop in Via Balbi, near the royal palace. Peters worked for the court of Savoy and made furniture for its palaces in Turin, Genoa and Racconigi, including the Palazzo Reale - most notably the furniture for the wedding of Prince Vittorio Emanuele in 1841. Peters and his workshop won the silver medal at the Esposizione dei Prodotti e delle Manifatture Nazionali. Some of his works can be found in the Palazzo Rosso in Genoa. (1400754) (3) (13) George III style expanding dining table Height: 80 cm Width: 204 cm. Depth: 156 cm. Max. length: 10 meters. England or Italy, 1st half of the 19th century.

Estim. 12 000 - 15 000 EUR

Lot 78 - Seltenes gotisches Vortragekreuz des 15. Jahrhunderts - Height: 46 cm. Height incl. iron spike: 60 cm. Florence, late 15th century. Elaborately designed on both sides, using gilded relief work and enamel, core probably wood and iron, with lower iron spike for insertion into the supporting pole. Corpus Christi in solid cast bronze, silver-plated, in the three-nail type, the abdomen bent forward in keeping with the style of the time, the loincloth gilded. The appliqués at the ends of the beams are in gilded copper, each in quatrefoil, embossed almost in high relief. On the front left Mary, right John, below Mary Magdalene with ointment jar and above two hovering angels. The relief at the height of the toenails shows the skull of Adam. The head of Christ is framed by another quatrefoil, engraved with arabesque decoration. In the corresponding reliefs on the reverse: Christ's lamb with a banner as a resurrection motif in the middle, a praying angel below, the four evangelists at the ends of the beam. Blue enamel ground with melted silver threads on both sides of the beam. Can be placed on a modern wooden base. (1402312) (11) Rare gothic porcessional cross, 15th century Height: 46 cm. (incl. iron spike: 60 cm.) Probably Tuscany/ Florence, late 15th century. Elaborately designed on both sides with gilt relief work and enamel. The core probably from wood and iron, with lower iron spike for insertion into the carrying pole. Corpus Christi in solid cast bronze, silver-plated, in three-nail type, the lower body leaning forward in keeping with the style of the time, with gilt loincloth. Gilt-copper applications on the end of the beams.

Estim. 23 000 - 28 000 EUR

Lot 80 - Francis van Bossuit, 1635 Brüssel – 1692 Amsterdam, zugeschrieben - HERKULES Height: 15.3 cm. On acrylic base. Accompanied by CITES document, valid for commercial purposes in the EU. Small, full-round carved ivory figure, traditionally attributed to the Flemish sculptor Francis van Bossuit, who, after initial training in Brussels, acquired the title of master in Antwerp and then went to Italy. At the Accademia delle Arti del Disegna, he worked with the sculptor Balthasar Permoser. In Rome, he was a member of the Bentvueghels. Examples of his earliest ivory works can be found in Modena. Van Bossuit became known for his works in terracotta, wood and above all ivory. The figure is finely crafted, the muscular figure of the Greek demigod standing in contrapposto on an oval base. He has shouldered a club and holds the skin of the Nemean lion in his left hand. His powerful hand holds the lion's head, while the highly detailed back shows the tail dragging towards the ground and the moving muscles of the hero's back. Other ivory works of his hand can be found in the Rijksmuseum Amsterdam, the Rothschild Collection and the Getty Center Los Angeles. A.R. Provenance: Kunstkammersammlung. Literature: Cf. Matthys Pool and Barent Graat, Cabinet de l'art desculpture par le fameux sculpteur Francis van Bossuit, Chez M. Pool, Amsterdam 1727. (14023111) (11) Francis van Bossuit, 1635 Brussels - 1692 Amsterdam, attributed HERCULES Height: 15.3 cm. Accompanied by CITES document, valid for commercial purposes in the EU. Small, three-dimensionally carved ivory figurine, traditionally attributed to the Flemish sculptor Francis van Bossuit. Other ivory works by his hand can be found in the Rijksmuseum Amsterdam, in the Rothschild Collection, and in the Getty Center Los Angeles. Provenance: Cabinet of curiosities collection, Italy. Literature: cf. Matthys Pool (text) and Barent Graat (drawings), Cabinet de l'art de sculpture par le fameux sculpteur Francis van Bossuit, Amsterdam 1727.

Estim. 27 000 - 30 000 EUR

Lot 81 - Jakob Betzold, 1621 – 1707, zugeschrieben - IVORY LIDDED GOBLET WITH GILDED SILVER MOUNTING Height: 31 cm. Enclosed CITES document, valid for commercial purposes in the EU. Ivory, silver, gilt. Gilt copper interior. The carved wall of the goblet is oval to match the ivory, showing - in keeping with the overall theme of the "Triumphal Procession of Bachus" - closely grouped putti, with grapes and a wine jug, accompanying a childlike Bachus riding the panther, the symbolic animal that, according to legend, had nourished him. His head is covered with grapes and leaves. He is preceded by a faun sputto with trestle legs and a blowing horn. The entire scene thus forms a procession of putti. Mounted on a sturdy base in gilded silver, on four spherical feet in the shape of open pomegranates. The wall of the base is bulbous, decorated with vine tendrils with putti and birds in their arches. The lid has a corresponding design, also with a curved rim and relief decoration, with putti, a vine, grapes and a putto drinking from a horn. Crowned by a twisted spigot rising above the lid. The ivory wall can be attributed to the ivory carver Johann Jakob Betzold, who was active in Schwäbisch Hall in the 17th century, documented from 1651-1680. The attribution can be justified by comparisons: A similar piece, an "unmounted hump cylinder with putti bachanal", can be found in the Bavarian National Museum in Munich (Room 85, inv. no. R 4748). Here, too, several putti are holding cloths over the scene. Another "Cupid's Cylinder from the circle of Johann Jakob Betzold" is in the Museum Schloss Ambras in Innsbruck. Further examples have been collected by the Kunsthalle Würth, Schwäbisch Hall, which were shown in the exhibition "Leonhard Kern and Europe" from 29.3.-3.10.2021. The Landesmuseum Württemberg / Kunstkammer also holds an example that is also closely related in style to the present example. The mount is stylistically somewhat later. A rectangular indentation on the upper rim - an opening for a handle - indicates that it was once fitted into a jug. A.R. Provenance: Frederic Spitzer Collection, sale Paris 28 April 1893, no. 203, price at the time 6000 Frcs, illus. plate II in the cat. edited by Dr. Achille Ètienne Malécot, 1895. Literature: Molinier, 1896, I., no. 193 p. 327. Exhibition: "Ivoires du musée du Louvre: 1480-1850, Une collection inédite", September 2005, catalog illus. p. 17. (14023112) (11) Jakob Betzold, 1621 - 1707, attributed LIDDED IVORY CUP WITH GILT SILVER MOUNTINGS Height: 31 cm. Accompanied by CITES document, valid for commercial purposes in the EU. Ivory, silver, gilt. Inside wall in gilt copper. The carved vessel wall of the goblet is oval, corresponding with the shape of the ivory. In correspondence with the overall subject, it depicts the Triumphal Procession of Bacchus: closely grouped cherubs, with grapes, wine jug, accompanying a childlike Bacchus riding on a panther, the symbolic animal which fed him according to legend. The vessel wall can be attributed to the ivory carver Johann Jakob Betzold, who worked in Schwäbisch Hall in the 17th century, recorded from 1651 to 1680. The attribution is based on comparisons: A similar piece, an "unmounted cylindrical tankard with cherubs and bacchanal" is held at the Bayerische Nationalmuseum in Munich (room 85, inv. no. R 4748). Provenance: Frederic Spitzer collection, sale Paris 28 April 1893, no. 203, then priced at 6000 French francs, ill. panel II in cat. - edited by Dr Achille Ètienne Malécot, 1895. Literature: Molinier, 1896, I., no. 193 p. 327. Exhibition: "Ivoires du musée du Louvre: 1480-1850, Une collection inédite", September 2005, cat. ill, p. 17.

Estim. 22 000 - 25 000 EUR

Lot 85 - Artus Quellinus d. J., 1625 Sint-Truiden in Limburg/ Belgien – 1700 Antwerpen, zugeschrieben - MADONNA WITH CHILD Height: 67 cm. Reddish-brown clay. Large terracotta figure depicting Mary seated, with angel heads in the lower section. The stylistic idiom of the late Baroque can already be recognized here, noticeable in the slender body of the Virgin and her slightly inclined posture. This concept is also evident in other works by the sculptor, such as the figure of Saint Rosa of Lima in St. Paul's Church in Antwerp from 1666/70. In 1650, he became a freemaster of the Antwerp Guild of St. Luke. His Italian influence was unmistakable after his travels in Italy and his stays in Turin, Rome and Florence in the years 1655-57. Artus Quellinus the Younger came from a Flemish family of artists. He was a cousin of Artus Quelinus the Elder and father of Artus III, Thomas and Cornelius, who also devoted themselves to sculpture. His other important works include the large sculptural funerary monument to Bishop Ambrosius Capello in Antwerp Cathedral from 1676 and the monumental figure of God the Father in St. Salvator in Brussels Cathedral. A.R. (1401204) (11) Artus Quellinus the Younger, 1625 Sint-Truiden In Limburg/ Belgium - 1700 Antwerp, attributed VIRGIN AND CHILD Height: 67 cm. Reddish-brown terracotta. Large terracotta figure depicting seated Virgin, with angel heads in the lower part. The style of the late Baroque period is already recognizable here.

Estim. 20 000 - 25 000 EUR

Lot 89 - Santi Buglioni, genannt „Santi di Michele Viviani“, 1494 Florenz – 1576 - MARY WITH THE CHILD BETWEEN LUDWIG THE SAINT AND SAINT GEORG 104 x 77 cm. Wooden panel with iron suspension following the lines of the relief. Accompanied by a copy of an expertise by Giancarlo Gentilini, Florence, May 24, 2023. Terracotta, cast, polychrome glazed. This rare and finely glazed terracotta altarpiece depicts Mary with the blessing infant Jesus between Saint Louis (Louis IX, King of France, 1214-1270), who was canonized in 1297 and is distinguished by his elegant clothing and royal crown. Then there is the proud Saint George (275/285-303) in his shining armour, also recognizable by his crusader's shield. The object of museum quality offered here was certainly part of a chapel of an important manor house, perhaps a castle, as the knightly military virtues associated with the two saints suggest. The relief has not yet been published. It testifies to a unique interpretation of the Delle Robbia sculpture, but is in keeping with the rather eccentric orientation of early Florentine Mannerism, which characterizes the mature phase of Santi Buglioni (1494-1576). Vasari described him in 1568 as the last keeper of the "segreto degl'invetriati di terra". He was the nephew, collaborator and heir of Benedetto Buglioni (1459/60-1521), who in turn was a pupil of Andrea di Michele il Verrocchio (1435-1488). He slowly broke away from the outdated Della Robbia models and the formal and technical conventions. For example, he produced a grandiose frieze depicting the "Seven Works of Mercy" in the portico of the Ospedale del Ceppo in Pistoia (1526-1528). He also produced the spectacular historicizing terracotta floor of the Biblioteca Laurenziana (1548-1554) and was even allowed to model portraits of Michelangelo Buonarroti (1475-1564). The liquid glaze of the present terracotta is foreign to the glaze of the Della Robbia terracottas and is closer to the visionary painters of early Mannerism (Rosso Fiorentino, Pontormo, Alonso Berruguete and Domenico Beccafumi). Further echoes can be observed: The bold figure of the saint in Florence, for example. Literature: Cf: Allan Marquand, Benedetto and Santi Buglioni, Pinceton 1921. Giancarlo Gentilini, I Della Robbia. La scultura invetriata nel Rinascimento, Florence 1992, pp. 390-449. Cf. Fiamma Domestici, Santi Buglioni, in: I Della Robbia e l'arte nuova della scultura invetriata, Florence 1998, pp. 337-340. Cf. Giancarlo Gentilini, Tommaso Mozzati, Santi Buglioni, in: I Della Robbia. Il dialogo tra le Arti nel Rinascimento, exhibition catalog Arezzo, Milan 2009, p. 363, nos. 109-110. Cf. Giovanni Capecchi, Maria CChristina Masdea, Valerio Tesi, Grazia Tucci, Avvicinatevi alla bellezza. Il fregio dello Spedale del Ceppo, Pistoia 2015. Cf. Liletta Fornasari, Sulle tracce dei Della Robbia. Le vie della terracotta inventriata nell'aretino, Milan 2009. (1360275) (13) Santi Buglioni, also known as "Santi Di Michele Vivani", 1494 Florence - 1576 THE VIRGIN AND CHILD BETWEEN SAINT LOUIS AND SAINT GEORGE 104 x 77 cm. Accompanied by an expert's report by Giancarlo Gentilini, Florence, 24 May 2023, in copy. Cast and polychrome glazed terracotta. The rare and finely glazed terracotta altarpiece depicts The Virgin Blessing the Infant Christ between two saints: Saint Louis (Louis IX, King of France, 1214 - 1270), who was canonized in 1297 and is distinguished by his elegant attire and royal crown. In addition, the proud Saint George (275/285 - 303) in his shining armour, recognizable by his crusader shield.

Estim. 60 000 - 80 000 EUR

Lot 92 - Monogrammist C.J., vor 1902 - THE LANDSHUT PRINCELY WEDDING OF 1475 WITH DEPICTION OF ADAM AND EVA IN PARADISE Height: 68 cm. Monogrammed "C.J.-M". The carving is a discovery for the historicist view of an important event in Bavarian history. Previously unknown, it has now resurfaced without any clues as to its provenance. It is not only the high level of carving, which presupposes a renowned artist, but also the large format, which is so rare for works in book wood, that points to the important occasion of its creation. After researching all the details in this unusually richly crafted work, such as the figures depicted on the plinth, the coats of arms and, above all, the positioning of the knightly procession, it ultimately emerged that this is a historicist commemoration of the Landshut princely wedding of 1475, an event that was of great political significance for the Christian West at the time and has been celebrated repeatedly every four years in the Lower Bavarian capital of Landshut since 1985. This famous event was added to the list of intangible cultural heritage in 2018. In keeping with the theme of a wedding, the artist has made the first human couple, Adam and Eve in paradise, the main subject: the couple under the tree of paradise next to a large figure of God the Father. Only in the high lower part of the carving is the courtly event figuratively staged as a commemorative scene. It is the courtly wedding procession for the marriage of Jadwiga (Hedwig) Jagiellonica (1457-1502), daughter of the King of Poland, Casimir IV Andreas (1427-1492), to George the Rich (1455-1503), son of the Bavarian Duke Louis the Rich (1417-1479). This Landshut wedding was celebrated on November 14 and 15, 1475. The political intention behind this marriage was also to strengthen ties with Eastern Europe. This was supported by Louis IX and Emperor Frederick III, who had attended the celebration. The marriage was prepared for a long time in Krakow. The 18-year-old bride had a two-month journey to undertake before arriving in Landshut, delayed by the plague in Wittenberg, via Posen, Berlin, Leipzig, Eger and Regensburg. The best man was Otto II von Neumarkt, cousin of the bridegroom. Princes and bishops were invited, including Albrecht Achilles of Brandenburg as court master and orator, or Count Palatine Philip. The wedding ceremony in St. Martin's was performed by Salzburg Archbishop Bernhard von Rohr. The otherwise rather reserved Emperor Frederick III himself opened the wedding ceremony with the bride. A celebration lasting several days followed, which cost the enormous sum of 61,000 guilders (over 20 million euros) (200,000 eggs, 11,500 geese, 40,000 chickens and 323 oxen were eaten, 20 silk tailors were employed), partly due to the travel delays and catering for around 9,000 guests (out of Landshut's population of 7,000). The significance of the event is also reflected in later memories: From 1880, the State Hall in Landshut Town Hall was redesigned and decorated with large-format murals of this wedding, created by Munich artists. In 1902, the association Die Förderer was founded for this purpose. The present carving was probably commissioned a few years earlier in this context. This large museum piece was masterfully carved in boxwood. The lower edge reveals that it was originally set in a much larger, possibly silver ornamental base, with the carved scene of the procession at eye level. The overall design follows the growth of the wooden material, which is rare in this size. The pedestal section, which rises above a six-sided plinth, bears a tree of paradise that stretches upwards between branches and leaves, filled with birds, small animals and a monkey in the branches, lizards, a tortoise or falcon, with a nest with a pair of storks at the top, probably an allusion to the expectation of offspring. Hovering to the side of the tree is the figure of God the Father in a long, flowing cloak, with a disc nimbus above his head. The posture betrays the distancing from the first human couple after the Fall. The long-bearded face looks towards Eve, who rises in a pleading posture. In front of her, Adam lies asleep, his head resting on a tuft of leaves, his eyelids closed dreamily, his brows raised forebodingly. Next to him on the ground are the forbidden fruits of the tree. Next to his bent leg at the root of the tree is the snake of seduction. Behind his back lies a lamb - a reference to the sacrifices that follow in the biblical legend. Behind him on the lawn is a rabbit, the traditional symbol of eroticism and fertility. In the pedestal zone, the central

Estim. 30 000 - 60 000 EUR

Lot 93 - Grosser spätgotischer Figurenschrein mit thronender Madonna mit Kind - Height: 153 cm. Width: 67 cm. Depth: 30 cm. Probably North Germany, 15th century. Mary seated on a throne bench, with the beginnings of the side bolsters still recognizable. The upper part of her body erect, her face turned slightly to the left, framed by dark, wavy hair and a shawl draped over it, which falls down to her chest in tubular folds. The child lies in an accentuated diagonal, holding a white dove in one hand, while the other rests on the gilded sphere held by the mother. Both of these attributes are to be interpreted theologically: as the divine rule of the universe and the dove of the Holy Spirit. Compositionally, the slanting position of the child corresponds to the hem of the blue cloak running parallel to it, which underneath forms three pointed folds between the knees. The tips of the shoes emerge from beneath the bottom hem. The sculptor endeavored to give Mary's face a noble expression, with an inward gaze. The high forehead was seen as a courtly feature at the time of its creation. The high rectangular shrine probably did not originally belong here. It has an upper crenellated cornice, the opening spanned at the top by a gilded round arch, with carved semicircular small arches, tracery carving in the corners; corresponding carved tracery frieze in the plinth band. Rest. added (1401381) Large late gothic figure shrine with enthroned Madonna and child Height: 153 cm. Width: 67 cm. Depth: 30 cm. Probably North Germany, 15th century.

Estim. 30 000 - 50 000 EUR
Security
Online payments are secured by Ingenico and encrypted transactions.
Guarantees
Each lot has been authenticated and appraised by an Auction House.
Support
Consult our FAQ or contact us
Composed of several subsidiaries, the Drouot Group is a major player in the art market. Hôtel Drouot, located in the heart of Paris, has been the world's largest public auction center since 1852. 15 salerooms are available to more than 70 auction houses. The emulation generated by an annual offer of 230,000 artworks from 21 major specialities - from Antiquity to street art - attracts some 3,000 visitors every day. The Group's digital platform, Drouot.com, offers digital sales - Live auctions (live broadcasting and participation in auctions), Online-only auctions (dematerialised auctions) and Buy Now sales (sales of lots at fixed prices). Nearly 2 million items are offered annually by 600 auction houses. Auction news is reported every week in La Gazette Drouot, the leading weekly magazine for the art market and culture published by Auctionspress.
More about Drouot
Drouot certified auction houses
To buy
How to buy on Drouot.com
How to buy at the Hôtel Drouot
Glossary
Useful links
To sell
Value your property
Auctions at the Hôtel Drouot
Subscribe
SERVICES FOR PROFESSIONALS
Auctioneers
Contacts
HÔTEL DROUOT
9, rue Drouot 75009 Paris, France
+33 (0)1 48 00 20 00
[email protected]

DROUOT.com
[email protected]
Press Center
Private events
CGU and legal notice - Privacy Statement - Copyright © Drouot.com