Mobilier et objets d’art, vente du soir

Lot 1 - IMPORTANT SET OF SIXTY-NINE PORCELAIN DESSERT PLATES FROM THE LATE 19th CENTURY Decorated by Vermeren-Coché in Ixelles Comprising 39 plates with polychrome and gold decoration in the center of the monogram P under a closed royal crown, the wing with turquoise blue background decorated with flowers and fruit in rectangular cartouches and gold stars and 30 plates with polychrome and gold decoration in the center of the monogram P under a closed royal crown, the wing with turquoise blue background decorated with rosettes and gold interlacing; minor gold wear. Marked Vermeren-Cnoché Ixelles D.:22,2 cm (8 ¾ in.) Provenance: Philippe of Belgium, Count of Flanders (1837-1905); Sotheby's Amsterdam, Collection of Princess Lilian of Belgium, September 22-23, 2003, lots 59, 60, 61 and 63; Acquired during the latter period by the current owner; Private collection, Paris. An important set of 69 porcelain dessert plates, decorated by Vermeren-Coché at Ixelles, late 19th century

Estim. 5 000 - 8 000 EUR

Lot 2 - SET OF EIGHT SECOND HALF 19th CENTURY CARAFES, circa 1870-1880 In engraved crystal, the body engraved with a monogram PM (for Philippe, Count of Flanders, and his wife Marie Louise, née Princess Von Hohenzollern-Sigmarinen) surmounted by a royal crown. H.:29 cm (11 ½ in.) l.:11 cm (11 ¼ in.) Provenance: Philippe (1837-1905), Count of Flanders, and his wife, Marie Louise (1845-1912), née Princess Von Hohenzollern Sigmarinen ; By descent until Sotheby's Amsterdam sale, Princess Lilian de Belgique at Château d'Argenteuil, September 22-23, 2003, lot 98 (part of lot); Acquired by the current owner; Private collection, Paris. A set of eight engraved crystal armorial carafes, second half of the 19th century, circa 1870-1880

Estim. 1 500 - 2 000 EUR

Lot 3 - PAIR OF DOUBLE SALT CELLARS AND THEIR INTERIORS IN SILVER (950) Goldsmith Charles-Nicolas Odiot Paris, circa 1850 Standing on four claw feet, the central grip decorated with foliage ending in a leafy seed. Goldsmith's hallmark and full mark ODIOT / A PARIS, export hallmark, head of Mercury For the salt cellars, numbered 4118 For the silver and vermeil interiors, numbered 8992 Scratches from use, wear to vermeil H.:13 cm (5 in.) l.:17,5 cm (6 ¾ in.) Weight:894 gr. Origin: Philippe of Belgium, Count of Flanders (1837-1905); Sotheby's Amsterdam, Collection of Princess Lilian of Belgium, September 22-23, 2003, lot 26; Acquired by the current owner; Private collection, Paris. A pair of silver salt cellars and their silver and silver-gilt liners, by Charles-Nicolas Odiot, Paris, circa 1850

Estim. 2 000 - 3 000 EUR

Lot 4 - SET OF EIGHT SECOND HALF 19th CENTURY CARAFES, circa 1870-1880 In engraved crystal, the body engraved with a monogram PM (for Philippe, Count of Flanders, and his wife Marie Louise, née Princess Von Hohenzollern-Sigmarinen) surmounted by a royal crown. H.:29 cm (11 ½ in.) l.:11 cm (11 ¼ in.) Provenance: Philippe (1837-1905), Count of Flanders, and his wife, Marie Louise (1845-1912), née Princess Von Hohenzollern Sigmarinen; By descent until Sotheby's Amsterdam sale, Princess Lilian de Belgique at Château d'Argenteuil, September 22-23, 2003, lot 98 (part of lot); Acquired by the current owner; Private collection, Paris. A set of eight engraved crystal armorial carafes, second half of the 19th century, circa 1870-1880

Estim. 1 500 - 2 000 EUR

Lot 5 - A PAIR OF OVAL SAUCERS WITH ADHERENT TRAY AND FOUR SILVER LINERS (950) Goldsmith Charles-Nicolas Odiot Model with contours and moldings of ribboned fillets and leafy clasps, standing on four scrolled feet, engraved with the coat of arms of Philippe of Belgium, Count of Flanders, surmounted by the motto "L'UNION FAIT LA FORCE" ("UNION MAKES STRENGTH"). Goldsmith's hallmark and full mark ODIOT A PARIS, export hallmark, head of Mercury For one and two liners, numbered 8990 For the second and one lining, numbered 1848 The last lining, without goldsmith's hallmark and without number Scratches from use; on one, bumps H.:14,5 cm (5 ¾ in.) l.:26,5 cm (10 ½ in.) L.:18 cm (7 in.) Weight:3 Kg 488 Origin : Philippe of Belgium, Count of Flanders (1837-1905); Sotheby's Amsterdam, Collection of Princess Lilian of Belgium, September 22-23, 2003, lot 23 ; Acquired during the latter period by the current owner; Private collection, Paris. A pair of oval-shaped silver sauce-boats and four silver liners, by Charles-Nicolas Odiot, Paris, circa 1850

Estim. 3 000 - 5 000 EUR

Lot 6 - THIRTEEN SEMI-HOLLOW SILVER DINNER PLATES (950) Goldsmith Charles-Nicolas Odiot Paris, circa 1850 THIRTEEN HALF-SQUARE SILVER DINNER PLATES (950) Goldsmith Charles-Nicolas Odiot Paris, circa 1850 Model with contours and moldings of ribboned filets and leafy clasps, engraved with the coat of arms of Philippe of Belgium, Count of Flanders, surmounted by the motto "L'UNION FAIT LA FORCE" ("UNION MAKES STRENGTH"). Goldsmith's hallmark and full mark ODIOT A PARIS, numbered 8988, export hallmark, head of Mercury. Scratches from use D.:26 cm (10 ¼ in.) Weight:8 Kg 198 Origin : Philippe of Belgium, Count of Flanders (1837-1905); Sotheby's Amsterdam, Collection of Princess Lilian of Belgium, September 22-23, 2003, lot 37; Acquired during the latter period by the current owner; Private collection, Paris. A set of thirteen silver dishes, by Charles-Nicolas Odiot, Paris, circa 1850

Estim. 6 000 - 8 000 EUR

Lot 7 - LARGE OVAL SILVER PLATTER WITH HANDLES (950) Goldsmith Charles-Nicolas Odiot Paris, circa 1850 With contours and moldings of foliate and ribboned fillets, standing on four runners;decorated in the center with the coat of arms of Philippe of Belgium, Count of Flanders, surmounted by the motto "L'UNION FAIT LA FORCE", in a surround of flowers, gadroons and rosettes on a bitter background, the handles with foliate fillets. Goldsmith's hallmark and full mark ODIOT / A PARIS, numbered 9963, export hallmark, head of Mercury. l.:79 cm (31 in.) L.:53 cm (20 ¾ in.) Weight:4 Kg 281 Origin : Philippe of Belgium, Count of Flanders (1837-1905); Sotheby's Amsterdam, Collection of Princess Lilian of Belgium, September 22-23, 2003, lot 40 ; Acquired during the latter period by the current owner; Private collection, Paris. A large oval silver tray, by Charles-Nicolas Odiot, Paris, circa 1850

Estim. 8 000 - 10 000 EUR

Lot 8 - TWENTY-TWO SILVER PLATES (950) Goldsmith Charles-Nicolas Odiot Paris, circa 1850 Model with contours and moldings of ribboned filets and leafy clasps, engraved with the coat of arms of Philippe of Belgium, Count of Flanders, surmounted by the motto "L'UNION FAIT LA FORCE" ("UNION MAKES STRENGTH"). Goldsmith's hallmark, numbered 5331, export hallmark, head of Mercury D.:26,4 cm (10 ½ in.) Weight:13 Kg 074 Origin : Philippe of Belgium, Count of Flanders (1837-1905); Sotheby's Amsterdam, Collection of Princess Lilian of Belgium, September 22-23, 2003, lot 36; Acquired during the latter period by the current owner; Private collection, Paris. A set of twenty-two silver plates, by Charles Nicolas Odiot, Paris, circa 1850

Estim. 15 000 - 20 000 EUR

Lot 9 - TWELVE VERMEIL DESSERT PLATES (950) Maison Odiot The rim molded with laurel leaves, the wing adorned with gadroons and rosettes on an amati ground, engraved with a monogram (variants)Mark in full letters MON ODIOT / PARIS, Minerve mark Numbered Shock and wear D.:17,2 cm (6 ¾ in.) Weight:3 Kg 216 Origin : Sale in Paris, Hôtel Drouot, March 21, 2004, lot 66. A set of twelve silver-gilt dessert plates, by Maison Odiot

Estim. 4 000 - 6 000 EUR

Lot 10 - LARGE SILVER CENTERPIECE (950) Christofle goldsmith Of round, contoured form, standing on two double clog feet surmounted by bull heads and four scrolled feet;adorned on either side with sheep and a ram;in the center a truncated column applied with horns of plenty, surmounted by a shepherd dressed in antique style, holding a staff in one hand and a sheaf of wheat in the other, symbolizing Ceres. Signed CHRISTOFLE C(...) Minerve hallmark H.:57 cm (22 ½ in.) L.:52 cm (20 ½ in.) Gross weight:10 Kg 955 approx. Origin : Sale in Paris, Hôtel Drouot, March 21, 2004, lot 67. An important silver surtout de table, by Christofle, Paris, late 19th century Starting in 1870, the Ministry of Agriculture instituted a competition between France's leading silversmiths to create silver pieces for the winners of agricultural exhibitions. From 1870 onwards, the Ministry of Agriculture instituted a competition between France's leading silversmiths for the creation of silver pieces to reward the winners of agricultural exhibitions.

Estim. 12 000 - 18 000 EUR

Lot 11 - 20th CENTURY COPENHAGEN PORCELAIN SERVING PART Flora Danica model Polychrome decoration of botanical flowers with black or green captions on the reverse: - nineteen large plates with openwork rims, - thirteen large plates, - eleven open rim dessert plates, - one dessert plate, - four small plates, - ten bread plates, - a square salad bowl, - a covered round vegetable dish, - a triangular compotier, - two rectangular dishes, - two oval dishes with branch and flower handles, - one small oval dish Marked Three plates with a chip D. (large openwork plates): 25.5 cm (10 in.) D. (large plates): 25 cm (9 ¾ in.) D. (dessert plates with openwork rim): 22.5 cm (8 ¾ in.) D.(dessert plate): 22 cm (8 ½ in.) (D.(small plates): for three, 19.5 cm (7 ¾ in.), for one, 17 cm (6 ½ in.) L. (bread plates): 14.5 cm (5 ¾ in.) L. (square salad bowl): 22 cm (8 ½ in.) L. (covered round vegetable dish): 23.5 cm (9 ¼ in.) L. (triangle compotier): 22 cm (8 ½ in.) L. (rectangular dishes): 29 cm (11 ½ in.) L. (oval dishes): 25 cm (9 ¾ in.) L. (small oval dish): 25 cm (9 ¾ in.) (66) A 66-piece Copenhagen porcelain part table-service, Flora Danica model, 20th century

Estim. 20 000 - 30 000 EUR

Lot 12 - 20th CENTURY COPENHAGEN PORCELAIN SERVING PART Flora Danica model Polychrome decoration of botanical flowers with black or green captions on the reverse: - four large round dishes, - one oval dish, - two cooling buckets, - an oval compotier with a handle in the shape of a branch and flowers, - two covered cream pots on square trays, - twelve cups and twelve saucers, - twelve large dinner plates, - twelve large soup plates, - twelve dessert plates, - twelve small bread plates D. (large round dishes): 33 and 35,5 cm (13 and 14 in.) D. (large round dishes with openwork rim): 30 cm (11 ¾ in.) L. (oval dish): 40 cm (15 ¾ in.) Dimensions (buckets): H.: 12 cm (4 ¾ in.), L.: 20 cm (7 ¾ in.) L. (oval compotier): 25 cm (9 ¾ in.) Dimensions (covered cream pots): H: 7.5 cm (3 in.), W.: 10.5 cm (4 ¼ in.) Dimensions (cups and saucers): H.: 7.5 cm (3 in.), D.: 13.6 cm (5 ¼ in.) D. (large dinner plates): 25 cm (9 ¾ in.) D. (large soup plates): 25 cm (9 ¾ in.) D. (dessert plates): 19.5 cm (7 ¾ in.) D. (small bread plates): 14.5 cm (5 ¾ in.) (70) A 70-piece Copenhagen porcelain part table-service, Flora Danica model, 20th century

Estim. 25 000 - 40 000 EUR

Lot 13 - SMALL BOX Venice, early 16th century In enamel painted on copper, the fronts and sides in blue enamel enhanced with gilding, the lid in the form of a gabled frame with a white and green background enhanced with gilding, the interior in blue enamel enhanced with gilded stars;resting on four ball feet enameled with droplets;the lid handle is missing, slight accidents and retouching. H.:8 cm (3 ¼ in.) l.:13,5 cm (5 ¼ in.) L.:8 cm (3 ¼ in.) A small Venetian parcel-gilt and painted enamel casket, early 16th century This lot is sold in aid of the 30 Millions d'Amis Foundation. This lot is being sold in aid of 30 Millions d'Amis.

Estim. 3 000 - 5 000 EUR

Lot 14 - PAIR OF LOUIS XIV-STYLE PLOYANTS In molded and carved oak, decorated with scales and scrolls in bloom, fully upholstered in green velvet and trimmings; minor accidents, wear to upholstery. H.:54 cm (21 ¼ in.) l.:70 cm (27 ½ in.) A pair of Louis XIV style carved oak X-frame stools This lot is sold in aid of the 30 Millions d'Amis Foundation. This lot is being sold in aid of 30 Millions d'Amis.

Estim. 1 500 - 2 000 EUR

Lot 15 - LOUIS XIII PERIOD CABINET In ebony and blackened wood veneer, the front opening with two drawers at the top, two leaves illustrating Le Repos pendant la Fuite en Egypte and La Sainte Famille avec Jean Baptiste enfant revealing an interior with fourteen drawers around the two central doors, an interior theater in violet, amaranth and satinwood with eight drawers, the base opening with two drawers, supported by six tapered uprights joined by a strut top and finished with flattened ball feet of later period;accidents and missing parts H.:184,5 cm (72 ½ in.) l.:155 cm (61 in.) P. 59 cm (23 ¼ in.) A Louis XIII ebony, ebonised, kingwood, amaranth and satinwood cabinet on stand This lot is sold in aid of the 30 Millions d'Amis Foundation. This lot is being sold in aid of 30 Millions d'Amis. * Information for buyers: When leaving the EU, a CITES re-export certificate may be required, at the expense of the future buyer. * Information to buyers: For an exit from the EU, a CITES re-export certificate will be necessary, at the buyer's expense. Ebony, used as early as the Middle Ages for the creation of small objects, became widespread in the 16th century for the manufacture of small pieces of furniture. It wasn't until the 17th th century, with the development of the ebony trade, that it became widely used for cabinets. A precious wood that is very difficult to carve, it is used for veneering, giving rise to the word cabinetmaker, to designate the craftsmen who adorn furniture with ebony and, more generally, veneered wood, as opposed to the joiner who works with solid wood. Our cabinet is typical of Parisian production in the first half of the 17th century, combining German influences in the shape of the piece, the use of ebony and the wavy decoration of the moldings, and French influences in the carved decoration. A piece of ceremonial furniture of imposing proportions, the upper part is crowned by a cornice and drawers, and opens to reveal two leaves with drawers and a niche decorated with polychrome perspective decoration, contrasting with the sobriety of the whole and creating a surprise effect. Decorated with carved scenes taken from engravings, which were intensively traded in Paris in the 17th century, they take up religious subjects from the Old and New Testaments or mythological subjects. The fashion for these cabinets dates back to the 1620s-1630s, reaching its peak in the 1640s-1650s and dying out after 1660. They were worn by leading figures in the kingdom such as Richelieu, Mazarin and Chancellor Séguier, as well as by members of the court, the aristocracy and the bourgeoisie in France and England. Among the few comparable pieces to have appeared on the market in recent years, let's recall the example sold at Christie's London on April 27, 2016, lot 226, or the one from the Gustav Leonhardt collection, sold at Sotheby's Amsterdam on April 29, 2014, lot 432.

Estim. 7 000 - 10 000 EUR

Lot 16 - REGENCY PERIOD TRUMEAU MIRROR In molded, carved and formerly painted oak, decorated with music trophies, the spandrels adorned with shells, the outer jambs decorated with feathered female masks; minor accidents and missing parts, the mirror is of later date. Dimensions:305 x 165 cm (120 x 65 in.) A Regence carved oak overmantel trumeau This lot is sold in aid of the 30 Millions d'Amis Foundation. This lot is being sold in aid of 30 Millions d'Amis.

Estim. 5 000 - 8 000 EUR

Lot 17 - BEAUVAIS FABRICS, late 17th century Greenery with crowned cranes Woven in wool and silk, with two cranes in the foreground on the left, one moving towards the abundant vegetation on the right; the border with trophy motifs, the upper one decorated with the motto Nec metu Nec Invide, cut-out leathers, animals, garlands of fruit and flowers; wear and old restorations, reduced in height and probably in width. Dimensions: 334 x 372 cm (131 ½ x 146 ½ in.) A Beauvais verdure tapestry, late 17th century Imposing plants and red flowers energize the composition, which is punctuated by a succession of vertical planes formed by the tree trunks. These vertical planes are contrasted by the horizontal planes of the waterfall, the wall and the bridge leading to the château.

Estim. 2 500 - 4 000 EUR

Lot 18 - PAIR OF LOUIS XV PERIOD QUEEN BERGÈRES Stamped by Jean-Baptiste Meunier In molded and carved beech, decorated with foliage and foliate scrolls, the shoulders are foliate, resting on cambered legs ending in scrolls, upholstered in velvet with green floral decoration, stamped I.B. MEUNIER under the back rail; small accidents and missing parts, traces of worms. H.:107 cm (42 in.) W.:79 cm (31 in.) Jean-Baptiste Meunier, master in 1739 A pair of Louis XV carved beechwood bergeres a la reine, stamped by Jean-Baptiste Meunier This lot is sold in aid of the 30 Millions d'Amis Foundation. This lot is being sold in aid of 30 Millions d'Amis.

Estim. 5 000 - 8 000 EUR

Lot 19 - PAIR OF PORTERS "AUX MAURES", ITALIAN WORK IN THE ROCOCO STYLE, VENICE, MID-19th CENTURY In carved, polychrome lacquered wood, partly gilded and a mecca, the shell-decorated top supported by a Moor dressed in an antique-style tunic, resting on a base in blackened wood partly painted in imitation of marble; accidents and missing parts. H.:197 cm (77 ½ in.) l.:63 cm (25 in.) A pair of Italian Rococo style ebonised, polychrome lacquered, parcel-gilt and silvered porte-torcheres, mid-19th century This lot is sold in aid of the 30 Millions d'Amis Foundation. This lot is being sold in aid of 30 Millions d'Amis.

Estim. 3 000 - 5 000 EUR

Lot 20 - ITALIAN MIRROR FROM THE FIRST HALF OF THE 19th CENTURY, PROBABLY VENICE Glass, with applique decoration of foliage and stylized florets; accidents and missing parts Dimensions: 166 x 99 cm (65 ¼ x 39 in.) An Italian glass mirror, first half of the 19th century, probably Venice This lot is sold in aid of the 30 Millions d'Amis Foundation. This lot is being sold in aid of 30 Millions d'Amis.

Estim. 2 000 - 3 000 EUR

Lot 21 - SUITE OF FOUR WALL BRACKETS IN THE LOUIS XV STYLE Comprising a pair in gilded plaster decorated with shells and a pair in carved and gilded wood decorated with staples and foliate scrolls, the pair in plaster bearing a printed label on the back inscribed "LEBRUN CADRES ANCIENS ET MODERNES DEPUIS 1847(...)";minor accidents. H:32,5 and 27,5 cm (12 ¾ and 10 ¾ in.) l.:31 and 26,5 cm (12 and 10 ½ in.) Two pairs of Rococo style wall-brackets, one pair plaster, the other one giltwood This lot is sold in aid of the 30 Millions d'Amis Foundation. This lot is being sold in aid of 30 Millions d'Amis.

Estim. 1 500 - 2 000 EUR

Lot 22 - 18th CENTURY PLATEAU In restored Sicilian diaspora, rectangular in shape, resting on a metal base forming a coffee table; minor accidents. Dimensions (top):156 x 78 cm (61 ½ x 30 ¾ in.) H. (table):47 cm (18 ½ in.) A Sicilian diaspro marble top, 18th century, on a metal stand forming low table This lot is sold in aid of the 30 Millions d'Amis Foundation. This lot is being sold in aid of 30 Millions d'Amis.

Estim. 2 000 - 3 000 EUR

Lot 23 - PAIR OF LOUIS XV PERIOD "À LA REINE" ARMCHAIRS In molded, carved and gilded walnut, the back decorated with a floral cartouche flanked by foliate scrolls, the belt with a pomegranate motif, the cambered legs ending in a scroll, upholstered in blue embossed velvet with floral decoration; small accidents and missing gilding, belt reinforcement on one of the two armchairs. H.:104 cm (41 in.) l.:70 cm (27 ½ in.) A pair of Louis XV carved walnut fauteuils a la reine This lot is sold in aid of the 30 Millions d'Amis Foundation. This lot is being sold in aid of 30 Millions d'Amis.

Estim. 2 000 - 3 000 EUR

Lot 24 - REGENCY PERIOD DOUBLE-SIDED FLAT DESK Rosewood and violetwood veneer, chased and partly gilded bronze ornamentation, gilded leather top encircled by a bronze lingotière, each side opening by four drawers, resting on eight cambered legs terminating in capridé sabots;veneer accidents and missing parts, restorations. H.:78.5 cm (31 in.) l.:162 cm (63 ¾ in.) P.:82,5 cm (32 ½ in.) A Regence gilt-bronze mounted, tulipwood and kingwood "double face" bureau plat This lot is sold in aid of the 30 Millions d'Amis Foundation. This lot is being sold in aid of 30 Millions d'Amis. * Information for buyers: When leaving the EU, a CITES re-export certificate may be required, at the expense of the future buyer. * Information to buyers: For an exit from the EU, a CITES re-export certificate will be necessary, at the buyer's expense.

Estim. 5 000 - 8 000 EUR

Lot 25 - LOUIS XV PERIOD WINGED SOFA Stamped by Claude Louis Burgat In molded and carved beech, decorated with shells, flowers and leafy clasps, resting on eight cambered legs surmounted by flowery cartouches, upholstered in green velvet, stamped C.L.BURGAT under the back rail;small accidents. H.:116 cm (45 ½ in.) l.:220 cm (86 ½ in.) Claude Louis Burgat, received master in 1744 A Louis XV carved beechwood sofa, stamped by Claude Louis Burgat This lot is sold in aid of the 30 Millions d'Amis Foundation. This lot is being sold in aid of 30 Millions d'Amis.

Estim. 4 000 - 6 000 EUR

Lot 26 - PAIR OF LOUIS XV PERIOD "À LA REINE" ARMCHAIRS Stamped by Claude-Louis Burgat In molded, carved and formerly painted beech, the back decorated in the center with an asymmetrical cartouche, the shoulders with relief decoration of florets and foliage, the belt with a motif of florets inscribed in a rocaille cabochon, the cambered legs ending in a scroll, upholstered in worn green velvet, stamped several times C.L. BURGAT under the rear crosspiece;small accidents and missing parts. H.:104 cm (41 in.) W.:76 cm (30 in.) Claude-Louis Burgat, master in 1744 A pair of Louis XV carved beechwood fauteuils a la reine, stamped by Claude-Louis Burgat This lot is sold in aid of the 30 Millions d'Amis Foundation. This lot is being sold in aid of 30 Millions d'Amis. This elegant pair of fauteuils à la reine, characterized by ample proportions and extremely precise carving, is stamped by Claude Louis Burgat, Master in 1744.A suite of four armchairs of the same model as our pair, sold at Hôtel Drouot, Paris, June 22, 1982, lot 95;more recently, another set of four virtually identical armchairs, albeit in gilded wood, from the former Jacques Guerlain collection, sold at Christie's London, May 28, 2018, lot 231 (cfr. Fig.1).

Estim. 5 000 - 8 000 EUR

Lot 27 - LOUIS XV PERIOD BROKEN DUCHESSE WITH EARS Attributed to Jean-Baptiste I Tilliard Molded and carved beechwood, decorated with rocaille cabochons, rosettes and foliate scrolls, cambered legs surmounted by a fan and terminating in a foliate scroll, silk damask upholstery with polychrome floral decoration on a cream background;minor accidents. Dimensions bergère : H.:104 cm (41 in.)W.:75 cm (29 ½ in.) Toe dimensions: H.:64 cm (25 in.) l.:71 cm (28 in.) P. 97 cm (38 in.) A Louis XV carved beechwood duchesse brisee a oreilles, attributed to Jean-Baptiste I Tilliard This lot is sold in aid of the 30 Millions d'Amis Foundation. This lot is being sold in aid of 30 Millions d'Amis. Although unstamped, this remarkable duchesse brisée à oreilles is typical of the production of Jean Baptiste I Tilliard (1686-1766), one of the most important Parisian joiners active in the first half of the 18th century. A broken duchesse identical (cfr. Fig.1) to ours and stamped by Tilliard, sold at Christie's Paris, April 13, 2017, lot 139 (€ 18,750). The carved heart motif inscribed in a cartouche that adorns the belt and back of our duchesse could be Tilliard's signature; it is found with minute variations on a large number of seats executed by this famous joiner such as: - A pair of armchairs sold at Christie's Paris, December 19, 2007, lot 531. - A pair of attributed armchairs sold at Christie's London, October 24, 2013, lot 700. - A suite of four fauteuils à la reine, from the former Elie and Inna Nahmias collection, sold at Christie's Paris, November 6, 2014, lot 227. - A bergère sold at Christie's Paris, April 25, 2018, lot 65. - A pair of frame armchairs sold in Paris at Maître Ader, April 2, 1974 and illustrated in G.B.Pallot, L'Art du Siège au XVIIIe siècle, A.C.R. Gismondi Editeurs, 1987, p.139. The upper part of the legs is adorned with a fan motif, another of Tilliard's favorite designs, found for example on a pair of fauteuils à la reine la reine sold at Christie's Paris, November 6, 2015, lot 845, on a bergère from the former Fradier collection and illustrated in G.B.Pallot, L'Art du Siège au XVIIIe siècle, A.C.R. Gismondi Editeurs, 1987, p.137 or on a bergère kept at the Musée des Arts Décoratifs and illustrated in G.Janneau, Les Sièges, Paris, 1993, fig. 175.

Estim. 7 000 - 10 000 EUR

Lot 28 - TRANSITION PERIOD ROYAL CHEST OF DRAWERS Attributed to Simon Oeben Satinwood and satinwood veneer, chased and gilded bronze ornamentation, restored Flanders marble top, recessed front opening with five drawers in three rows, canted uprights, cambered legs finished with bronze claws. Marks: F N 183 (Château de Fontainebleau furniture storage mark F under closed royal crown) on the back and reverse of the marble top, the frame and reverse of the marble top numbered with stencil N°9; minor accidents and missing parts, veneer lightened by the sun. H. 86 cm (33 ¾ in.) l. 148 cm (58 ¼ in.) P. 65 cm (25 ½ in.) Provenance: Most likely delivered for Étienne François, Marquis de Stainville, duc de Choiseul at the Château de Chanteloup, circa 1765; Mentioned in 1786 at Château de Fontainebleau in the bedroom of Dauphin Louis Joseph (1781-1789); Mentioned in 1787 at Château de Fontainebleau in the bedroom of Dauphin Louis Joseph (1781-1789). Comparative bibliography : V. Moreau, Chanteloup, un moment de grâce autour du duc de Choiseul, Paris, 2007, p.248-249. A Transitional royal gilt-bronze mounted and satinwood commode, attributed to Simon Oeben This lot is sold in aid of the 30 Millions d'Amis Foundation. This lot is being sold in aid of 30 Millions d'Amis. The stencil mark F (couronné) N°183 on the back and reverse of the marble top of our commode corresponds to the inventory of the Château de Fontainebleau in 1787: " N°183. Une commode à deux grands tiroirs et 3 petits dans la frise plaquée de bois satiné uni, annneaux et sabots de bronze de couleur, dessus de marbre de Flandre de 4 pieds 1/2 de large [1m46]" (1). In the inventory of the château the previous year (1786, O1 3397), the chest of drawers is described in the same terms in the same room of the Dauphin Louis Joseph, without an inventory number or a number from the Journal du Garde-Meuble de la Couronne that could identify its delivery date. It seems certain that this chest of drawers was not one of the deliveries made by the royal furniture guard's usual suppliers (Joubert then Riesener), duly recorded on a daily basis in the furniture guard's register. More likely, it was part of a batch of furniture purchased from a dealer. A similar satinwood commode, also by Simon Oeben and with the Fontainebleau mark F (couronné) N°976, was placed in 1787 in the bedroom of the Duchesse d'Orléans (Sotheby's Monaco sale, February 26-27, 1992, n°220, then Edmond Safra collection, then Christie's London, Exceptional sale, July 6, 2023, lot 27) (fig. 1). Like the commode shown here, it could not be identified by a number in the Journal du Garde Meuble Royal, but had brush numbers on its frame (n°I Chambre). Its marble was that of commode N°974, which formed its counterpart in the bedroom of the Duchess of Orleans, with the same brush marks (from chapel N°I C). We thus had three similar commodes by Simon Oeben, unmarked in the Garde-Meuble journal, but with brush marks corresponding to an earlier inventory. Given that Simon Oeben's main client was Étienne-François, Duc de Choiseul (1719-1785), whose Château de Chanteloup and Parisian residence he furnished, these chests of drawers are closely related to the Chanteloup furnishings. After Choiseul's death, when the château was sold to the Duc de Penthièvre in 1786, some of the furniture was retained. However, a comparison of Choiseul's inventory with that of Penthièvre shows that many pieces were sold at that time, the dates coinciding with the appearance of the commodes at Fontainebleau. In Choiseul's inventory of 1786 (2), no fewer than thirty commodes were listed in the château's apartments, including three in mahogany, three in satinwood and twenty-four in "bois des Indes", a vague term used at the time to designate exotic wood veneers. Their descriptions are too brief to confirm that they correspond to this type of commode, but later inventories point to this model. It is therefore likely that some of this furniture was sold by the Choiseul estate to the Garde-Meuble de la Couronne, according to Christian Baulez (3). Only two chests of drawers in the Duchesse de Choiseul's bedroom had their ornaments in gilded bronze. In bedroom no. 9, "a table of bois des Indes, a commode of similar wood" were inventoried, and together with a set of crimson lampas, fetched the substantial sum of 1800 livres. This could therefore correspond to the number 9 found on the frame and reverse of the marble top of our copy.

Estim. 30 000 - 50 000 EUR

Lot 29 - Italy, Venice, late 18th-early 19th century A Moor Polychrome marble bust Mother-of-pearl eyes;resting on a splayed Sienna marble base and a white marble and Portor column H. (bust):80 cm (31 ½ in.) H. (column):105 cm (41 ¼ in.) A polychrome carved marble and mother-of-pearl bust of a Moor, Italian, Venetian, late 18th-early 19th century, on a marble stand This lot is sold in aid of the 30 Millions d'Amis Foundation. This lot is being sold in aid of 30 Millions d'Amis.

Estim. 6 000 - 8 000 EUR

Lot 30 - PAIR OF LOUIS XV PERIOD "À LA REINE" ARMCHAIRS Stamped by Louis Falconet In carved and gilded wood, the backrest with foliage and foliate scroll motif, the shoulders with foliage motif, the belt decorated with flowery falls au naturel on a lattice background, the cambered legs surmounted by foliage and terminating in a scroll, upholstered in silk damask with chinoiserie decoration, stamped FALCONET on the rear crossbar;small accidents and missing gilding, wear to the upholstery. H.:96 cm (37 ¾ in.) l.:71 cm (28 in.)(2) Louis Falconet, master in 1743 A pair of Louis XV giltwood fauteuils a la Reine, stamped by Louis Falconet This lot is sold in aid of the 30 Millions d'Amis Foundation. This lot is being sold in aid of 30 Millions d'Amis.

Estim. 8 000 - 12 000 EUR

Lot 31 - REGENCY PERIOD MIRROR In carved and gilded wood, the pediment with dragons, horns of plenty and foliate scrolls, the sides decorated with palms and jagged foliage; accidents and missing parts. Dimensions:218 x 115 cm (85 ¾ x 45 ¼ in.) A Regence giltwood mirror This lot is sold in aid of the 30 Millions d'Amis Foundation. This lot is being sold in aid of 30 Millions d'Amis.

Estim. 4 000 - 6 000 EUR

Lot 32 - TRUMEAU PARTLY FROM THE LOUIS XV PERIOD In carved and gilded wood, the pediment adorned in the center with a shell flanked by leafy clasps and surmounted by an oil painting on a poly-lobed panel encircled by a frame decorated with scrolls and foliage of the later period, the sides with a motif of pomegranates and foliage scrolls; small accidents and missing parts, the mirror is attached. Dimensions:168 x 100 cm (66 ¼ x 39 ½ in.) A partly Louis XV giltwood trumeau This lot is sold in aid of the 30 Millions d'Amis Foundation. This lot is being sold in aid of 30 Millions d'Amis.

Estim. 1 500 - 2 000 EUR

Lot 33 - LOUIS XV PERIOD CARTEL In stained horn veneer and brass inlays, chased and gilded bronze ornamentation decorated with leafy falls and pomegranates, the white enamelled dial signed "INVENTE ET EXECUTE PAR CHARLES LE BON HORLOGER DE LA CADEMIE (...) DES SCIENCES A PARIS", the movement signed "Inventé et Executé Par Charles Le Bon Orlogeur de La Cademie Royale et Des Sciences AParis";small accidents and missing parts, restorations. H.:97 cm (38 ¼ in.) l.:50 cm (19 ½ in.) A Louis XV gilt-bronze mounted, tinted horn and brass inlaid cartel This lot is sold in aid of the 30 Millions d'Amis Foundation. This lot is being sold in aid of 30 Millions d'Amis.

Estim. 3 000 - 5 000 EUR

Lot 34 - TRANSITION PERIOD WRITING TABLE Stamped by Nicolas Grevenich In violet wood veneer, the top revealing a satin-finish interior with three compartments and a mirror on the reverse, the front opening out into two drawers, one of which forms a writing desk, the curved legs ending in castors, stamped N.GREVENICH and JME hallmark under the right-hand crossbar;small accidents and missing parts to the veneer. H.:82 cm (32 ¼ in.) l.:52 cm (20 ¾ in.) P.:39 cm (15 ¼ in.) Nicolas Grevenich, received master in 1768 A Louis XV kingwood and satinwood table a ouvrages forming writing table, stamped by Nicolas Grevenich This lot is sold in aid of the 30 Millions d'Amis Foundation. This lot is being sold in aid of 30 Millions d'Amis. * Information for buyers: When leaving the EU, a CITES re-export certificate may be required, at the expense of the future buyer. * Information to buyers: For an exit from the EU, a CITES re-export certificate will be necessary, at the buyer's expense.

Estim. 700 - 1 000 EUR

Lot 35 - PAIR OF LOUIS XV PERIOD QUEEN CHAIRS Stamped by Jean-Baptiste I Tilliard Stamp of Jean-Baptiste I Tilliard In carved and gilded wood, the backrest and belt decorated with flowers and leafy falls, the cambered legs surmounted by a fan and ending in a scroll, upholstered in silk damask decorated with chinoiseries, stamped TILLIARD under the back rail;small accidents and missing gilding, reinforcements on the belt. H.:90 cm (35 ½ in.) l.:52 cm (20 ½ in.) Jean-Baptiste I Tilliard, received master in 1717 A pair of Louis XV giltwood chairs, stamped by Jean-Baptiste I Tilliard This lot is sold in aid of the 30 Millions d'Amis Foundation. This lot is being sold in aid of 30 Millions d'Amis.

Estim. 2 000 - 3 000 EUR

Lot 36 - LOUIS XV PERIOD CANED ARMCHAIR In molded and carved beech, the back and belt decorated with an asymmetrical foliage cartouche flanked by wings on a scale background, the cambered legs surmounted by a pomegranate;minor accidents. H.:92 cm (36 ½ in.) l.:65 cm (25 ½ in.) A Louis XV caned beechwood armchair This lot is sold in aid of the 30 Millions d'Amis Foundation. This lot is being sold in aid of 30 Millions d'Amis.

Estim. 1 500 - 2 000 EUR

Lot 37 - EARLY LOUIS XV SHEPHERDESS In carved and painted wood, the back decorated in the center with an asymmetrical cartouche flanked by foliage, the belt decorated with cartouches, scales and foliate scrolls, the cambered legs ending in scrolls, upholstered in 18th-century tapestry with polychrome poppy décor on a cream background;accidents to the upholstery. H.:101 cm (39 ¾ in.) l.:72 cm (28 ¼ in.) An early Louis XV green painted bergere This lot is sold in aid of the 30 Millions d'Amis Foundation. This lot is being sold in aid of 30 Millions d'Amis.

Estim. 3 000 - 5 000 EUR

Lot 38 - LOUIS XVI PERIOD BASKET SOFA Stamped by Georges Jacob In carved and gilded beech and walnut, the backrest decorated with twisted ribbons and rais de cœur, the armrests with piaster and foliage motifs, the waistband with channels, the tapered legs fluted with asparagus stems and surmounted by a leafy ring, upholstered in silk damask with chinoiserie decoration, stamped G.IACOB on the front crossbar;restorations to one of the front legs. H.: 101.5 cm (40 in.) l.:162 cm (64 in.) Georges Jacob, Master in 1765 A Louis XVI giltwood sofa, stamped by Georges Jacob This lot is sold in aid of the 30 Millions d'Amis Foundation. This lot is being sold in aid of 30 Millions d'Amis.

Estim. 7 000 - 10 000 EUR

Lot 39 - PAIR OF LOUIS XVI PERIOD CHIFFONIÈRE TABLES Stamped by André-Louis Gilbert In rosewood, amaranth, holly and stained wood veneer, with chased and gilded bronze ornamentation, the top encircled by an openwork gallery, the front opening with three drawers, the tapered legs with simulated fluting, stamped A.L.GILBERT under the front crosspiece;small accidents and missing parts, two missing keyholes. H.:76 cm (30 in.) W.:43 cm (17 in.) P.:32 cm (12 ½ in.) André-Louis Gilbert, master in 1774 A pair of Louis XVI gilt-bronze mounted, tulipwood, amaranth and hollywood tables en chiffonniere, stamped by André-Louis Gilbert This lot is sold in aid of the 30 Millions d'Amis Foundation. This lot is being sold in aid of 30 Millions d'Amis. * Information for buyers: When leaving the EU, a CITES re-export certificate may be required, at the expense of the future buyer. * Information to buyers: For an exit from the EU, a CITES re-export certificate will be necessary, at the buyer's expense. This type of small chiffonière table, featuring quartefoil marquetry within a trellis, was very popular around 1775. Although our pair is stamped by André-Louis Gilbert, Master in 1774, he is not the sole creator of this model. Indeed, comparable models were executed by other cabinetmakers such as Godefroy Dester (Fig. 1: Christie's Paris sale, November 8, 2013, lot 202) or Jacques Laurent Cosson (Fig. 2: Sotheby's Monaco sale, March 4, 1989, lot 233).

Estim. 5 000 - 8 000 EUR

Lot 40 - LOUIS XVI PERIOD PLANTER Stamped by Jacques-Laurent Cosson In mahogany, decorated with chased and gilded bronze, the front decorated with canals, the tapered legs with curved flutes ending in casters, the interior fitted with a removable zinc bucket of later period, stamped J.L.COSSON and JME hallmark under a side rail;the veneer lightened by the sun. H.:75.5 cm (29 ¾ in.), W.:81 cm (32 in.) P.:48 cm (19 in.) Jacques-Laurent Cosson, received master in 1765 A Louis XVI gilt-bronze mounted and mohagany jardiniere, stamped by Jacques-Laurent Cosson This lot is sold in aid of the 30 Millions d'Amis Foundation. This lot is being sold in aid of 30 Millions d'Amis.

Estim. 2 000 - 3 000 EUR

Lot 41 - PAIR OF LOUIS XVI PERIOD QUEEN BERGÈRES Stamped by Henri Jacob Carved and cream lacquered wood, basket-handle backrest, tapered legs with curved flutes, orange velvet upholstery, stamped H. JACOB under the front crossbar;small accidents and missing parts. H.:100 cm (39 ½ in.), W.:74 cm (29 in.) Henri Jacob, received master in 1779 A pair of Louis XVI cream lacquered bergeres a la reine, stamped by Henri Jacob This lot is sold in aid of the 30 Millions d'Amis Foundation. This lot is being sold in aid of 30 Millions d'Amis.

Estim. 2 000 - 3 000 EUR

Lot 42 - LOUIS XVI PERIOD MAN'S DRESSING TABLE In the taste of Philippe Pasquier In mahogany and veneer of mahogany, ebony, cytes root and brass inlays, the top encircled by a frieze with a Greek motif depicting the different phases of the solar eclipse and revealing an interior with a mirror on the reverse, the front opening with four drawers in two rows, the tapered legs with simulated fluting;numerous accidents and missing parts. H.:73 cm (28 ¾ in.), W.:93 cm (36 ½ in.) P.:49,5 cm (19 ½ in.) A Louis XVI mahogany, ebony, cytes root and brass-inlaid man's dressing table, in the taste of Philippe Pasquier This lot is sold in aid of the 30 Millions d'Amis Foundation. This lot is being sold in aid of 30 Millions d'Amis. * Information for buyers: When leaving the EU, a CITES re-export certificate may be required, at the expense of the future buyer. * Information to buyers: For an exit from the EU, a CITES re-export certificate will be necessary, at the buyer's expense.

Estim. 3 000 - 5 000 EUR

Lot 43 - PAIR OF CANDELABRA IN THE LOUIS XVI STYLE By Denière Chased bronze, gilded and crystal, the shaft with a motif of leaning putti holding a bouquet from which three arms of light and three crystal cups escape, resting on a stepped base, encircled by a laurel torus, the base signed DENIÈRE in PARIS and ANTWERP. 1885;missing H.:89 cm (35 in.) D.:39 cm (15 ¼ in.) A pair of Louis XVI style gilt-bronze and crystal three-light candelebra, signed by Deniere This lot is sold in aid of the 30 Millions d'Amis Foundation. This lot is being sold in aid of 30 Millions d'Amis. This elegant pair of candelabra, as evidenced by its signature, was made by the Maison Denière, one of the most renowned manufacturers of quality bronzes and active throughout the 19th century. The words "ANVERS.1885" on the base of our candelabra would more accurately indicate their participation in the Exposition Universelle held in Antwerp that same year. As René Corneli testifies, "La Maison Denière, from Paris, also shines brightly; it mainly reproduces Louis XIV, Louis XV and Louis XVI models; all its creations have a special cachet" (cfr. R. Corneli "Anvers et l'Exposition Universelle de 1885", Bellemans Frères, Antwerp, 1886, p. 354). Finally, Denière was mentioned in the " Catalog officiel de la section industrielle et commerciale de la République française", published under the patronage of the Ministry of Commerce. In addition, in recognition of the quality of his stand and the works of art exhibited, he was awarded an "honorary diploma" (cfr. "Exposition Internationale. Section française (1885, Anvers), Catalogue officiel de la section industrielle et commerciale de la République française", Edition Monnier, 1885, p. 28 and 41).

Estim. 2 500 - 3 000 EUR

Lot 44 - PAIR OF LOUIS XV STYLE CANDELABRAS Porcelain, Louis XV-style chased and gilded bronze mounts, with two arms of light, mid-18th-century Meissen porcelain figures of a young boy and girl in oriental costume, 19th-century porcelain flowers;some chips. H.:23 cm (9 in.) A pair of gilt-bronze mounted and porcelain two-light candelabra, the porcelain figures Meissen mid-18th century, the porcelain flowers 19th century, the gilt-bronze mounts Louis XV style This lot is sold in aid of the 30 Millions d'Amis Foundation. This lot is being sold in aid of 30 Millions d'Amis.

Estim. 1 500 - 2 000 EUR

Lot 45 - PAIR OF LOUIS XVI STYLE LAMPS Attributed to Louis-Auguste Beurdeley In chased, gilded bronze and white marble, the shaft depicting a putto among clouds, resting on a white marble base encircled by a frieze of fruit and flowers held in place by ribbon bows, finished with a counter-base adorned with a laurel torus. H.:84 cm (33 in.) l.:21 cm (8 ¼ in.) Comparative bibliography: H. Ottomeyer, P. Pröschel et al, Vergoldete Bronzen, Munich, 1986, Vol. I, p.423, fig. 6.3.5. A pair of Louis XVI style gilt-bronze and white marble lamps, attributed to Louis Auguste Beurdeley This lot is sold in aid of the 30 Millions d'Amis Foundation. This lot is being sold in aid of 30 Millions d'Amis. A pair of groups virtually identical to ours, although mounted as candelabras, was delivered by Louis Auguste Beurdeley for Emperor Napoleon III at the Palais de Compiègne; one of the two candelabras is illustrated in H. Ottomeyer, P. Pröschel et al, Vergoldete Bronzen, Munich, 1986, Vol. I, p.423, fig. 6.3.5 (cfr. Fig. 1).

Estim. 2 000 - 3 000 EUR

Lot 46 - EMPIRE STYLE CLOCK In chased, gilded and patinated bronze, with dial and movement signed HENRY. LEPAUTE. PARIS housed in a palanquin-shaped case surmounted by an Amerindian huntress flanked by a greyhound and supported by four young Moors dressed in loincloths, resting on a rectangular base finished with claw feet. H.:56 cm (22 in.) l.:56 cm (22 in.) P.:16 cm (6 ½ in.) Comparative bibliography: P. Kjellberg, La Pendule Française, Paris, 1997, p.354, fig. A.Tardy, La Pendule Française, 2eme Partie, de Louis XVI à nos jours, Paris, 1974-1975, p.356, fig. 2. An Empire style gilt and patinated bronze mantel clock This lot is sold in aid of the 30 Millions d'Amis Foundation. This lot is being sold in aid of 30 Millions d'Amis.

Estim. 4 000 - 6 000 EUR

Lot 47 - PAIR OF LAMP-MOUNTED CANDELABRAS FROM THE RESTORATION PERIOD In the taste of Pierre-Philippe Thomire In chased and gilded bronze, with six arms of light, the central one surmounted by a removable flame, the fluted shaft encircled by a frieze of lotus leaves and stylized palmettes, resting on claw feet; electrified. H.:79.5 cm (31 ¼ in.) l.:35 cm (13 ¾ in.) A pair of Restauration gilt-bronze six-light candelabra, mounted as lamps, in the taste of Pierre-Philippe Thomire This lot is sold in aid of the 30 Millions d'Amis Foundation. This lot is being sold in aid of 30 Millions d'Amis.

Estim. 4 000 - 6 000 EUR

Lot 48 - PAIR OF RESTORATION-PERIOD CANDELABRA In chased, patinated and gilded bronze, the shaft with a putto motif holding a bouquet from which four arms of light emerge, resting on a stepped base; the gilding is worn. H.:67,5 cm (26 ½ in.), l.:27 cm (10 ½ in.) A pair of Restauration gilt and patinated bronze four-light candelabra This lot is sold in aid of the 30 Millions d'Amis Foundation. This lot is being sold in aid of 30 Millions d'Amis.

Estim. 2 000 - 3 000 EUR

Lot 49 - LOUIS XV CONSOLE In Flanders marble, the top supported by two uprights decorated with scales and foliage;restorations H.:90 cm (35 ½ in.), l. 217 cm (85 ½ in.) P.:52 cm (20 ½ in.) A Louis XV style marble console This lot is sold in aid of the 30 Millions d'Amis Foundation. This lot is being sold in aid of 30 Millions d'Amis.

Estim. 2 000 - 3 000 EUR

Lot 50 - KUNSTSCHRANK CABINET, SOUTH GERMANY, FIRST HALF OF THE 17th CENTURY Attributed to Matthias Walbaum In ebony, ebony veneer and ivory inlay, decorated on all sides, the slightly domed lid revealing an interior lined with crimson silk velvet and fitted with eighteen compartments, the architectural front and sides adorned with niches set in arcades and punctuated by columns, The interior features fifteen drawers, four of which are secret drawers around a central leaf. The waistband opens with two drawers, one of which reveals a writing desk, and rests on flattened ball feet; restorations, traces of old silver mounts now missing H. 47 cm (18 ½ in.) l. 74 cm (29 in.) P. 36.5 cm (14¼ in.) Provenance: Private collection, Île-de-France. A Southern German ebony and ivory inlaid cabinet, first half of the 17th century, attributed to Matthias Walbaum Marketing authorization within the European Union. Authorisation to sell within the EU. * Information for buyers : When leaving the EU, a CITES re-export certificate may be required, at the expense of the future buyer. * Information to buyers: For an exit from the EU, a CITES re-export certificate will be necessary, at the buyer's expense. By 1600, Augsburg had become a major cabinet-making center in southern Germany. These cabinets were often made of ebony and ivory, with gilded bronze, silver or vermeil mounts. Given the value of these materials, they were considered treasures for princes and the high aristocracy. Some were also the subject of diplomatic gifts, which already contained other treasures in their drawers, both from the natural world -naturalia-, such as corals, shells, stones and animals, and from craftsmanship -artificialia-, such as turned ivory, goldsmiths, clockmakers and jewellers. The consuls of Augsburg donated a cabinet full of treasures to Swedish King Gustavus Aldolphus (now housed at Uppsala University), and every high-ranking dignitary of the day was expected to have his own cabinet of curiosities, demonstrating the erudition of its owner. Collections of this type were highly prized from 1570 onwards, and were mostly reserved for princes, such as the Duke of Pomerania, for whom Baumgartner father and son delivered one in 1617, now no longer in existence (see fig. 1), and Grand Duke Ferdinand II of Tuscany, whose cabinet is now housed in Palazzo Pitti. Augsburg's reputation as a center for the creation of luxury goods was largely due to the talents of the merchant (cf. fig. 2) Phillipp Hainhofer (1578-1647), who propagated this type of cabinet throughout Europe and ensured Augsburg's leading position for the quality of its production. In her book Der Pommersche Kunstschrank des Aubsburger Unternehmers Philipp Hainhofer für den gelehrten Herzog Philipp II von Pommern, Barbara Mundt lists the cabinets produced by Hainhofer. The Pommersche Kunstschrank, the Walbaum-Kabinett in Berlin's Kunstgewerben Museum (cf. fig. 3) (circa 1610-1615) and the cabinet designed for Grand Duchess Marie Madeleine of Tuscany (circa 1611-1613), the latter long since lost, are among the first group of cabinets dating from the first quarter of the 17th century and made entirely of ebony and enriched by rich silver applications. This was followed by creations with gemstone inlays for the Grand Duke of Tuscany Ferdinand II (1619-1625), the King of Sweden Gustavus Adolphus (1628-1632), and finally the cabinet for General Wrangel. In particular, our cabinet is very closely linked to the Walbaum-Kabinett in the Berlin Museum, with which it shares the choice of materials, the overall composition, the rich architectural structure of the facades and the layout of its interior structure (see fig. 4). Traces of an earlier decorative system, comparable to the Walbaum-Kabinett's silver decoration, can be seen beneath the exterior ivory decoration and on the interior facades. We can therefore deduce that the original appearance of our cabinet was also the result of a collaboration between Ulrich Baumgartner and Matthias Walbaum (active 1590-1632), and that it can therefore be associated with the corpus of Hainhofer's first large cabinets. The cabinet's current appearance is characterized by its remarkably fine ivory decoration, which replaced the silver ornamentation. This change in decoration can be dated to around 1620-1625, when the War of 1812 was waged.

Estim. 40 000 - 60 000 EUR

Lot 51 - REGENCY PERIOD PARQUET REGULATOR In blackened wood and brass inlays, with chased and gilded bronze ornamentation, the dial signed "François a Briey", the movement signed "François ABriey". H.:225 cm (88 1/2 in.) l.:35 cm (13 3/4 in.) Provenance : Collection of a couple of Belgian connoisseurs. A Regence gilt-bronze mounted, ebonised and brass inlaid longcase clock

Estim. 5 000 - 8 000 EUR

Lot 52 - PAIR OF REGENCY PERIOD "À LA REINE" ARMCHAIRS In carved and gilded wood, the belt decorated in the center with a cartouche flanked by foliate scrolls on a latticework background, the cambered legs ending in a foliate scroll and surmounted by a flowerette inscribed in a reserve, upholstered in gros point tapestry decorated with poppies on a cream background; small accidents and missing pieces, wear to the tapestry. H.:106.5 cm (42 in.) l.:73 cm (28 ¾ in.) A pair of Regence giltwood fauteuils a la reine

Estim. 12 000 - 18 000 EUR

Lot 53 - REGENCY PERIOD CONSOLE Carved and gilded wood, Flanders marble top, the belt decorated in the center with a sunflower inscribed in a cartouche flanked by dragons and foliate scrolls, the console legs joined by an X-shaped brace decorated in the front with a shell and surmounted by a sunflower. H.:83 cm (32 ¾ in.) l.:137 cm (54 in.) P.:72 cm (28 ¼ in.) A Regence giltwood console Made towards the end of the reign of Louis XIV or during the early years of the Regency, this console still retains reminiscences of the post-1700 Louis-Quatorzian style. The perfect symmetry of the central clasp and the scrolls below the belt, as well as the shape of the crosspieces, all recall the compositions of tables and consoles from the Louis XIV period. The quality of its execution and the richness of its ornamental vocabulary mean that it can be compared with the work of the decorative wood artists who worked for the Crown. Indeed, the sculptors Jules Degoullons (c.1671-1738), André Legoupil (1660/5-1733), Martin Bellan (†1714) and Pierre Taupin (c.1692-1739) founded, on January 21, 1699, the Société pour les Bâtiments du Roi (Society for the King's Buildings), whose primary aim was to work for the sovereign, princes and princesses of the blood, and the principal members of the royal family, but who over time also executed works for the nobility, great lords and financiers. Alas, as is usual with gilded wood furniture, unless there is a precise indication of provenance, such as that of the consoles for the Palais Royal for example, known from drawings contemporary with their manufacture, it is almost impossible to find them in the inventories of the Ancien Régime.

Estim. 25 000 - 40 000 EUR

Lot 54 - Laurent Delvaux (Ghent 1696 - Nivelles 1778), Rome, 1728-1732 The Farnese Hercules Terracotta figure Resting on a fully molded square base; signed L.D. F. ROMAE and engraved with the signature of the ancient Hercules: ΓλyκωnΑθηναίος εποίει (Glykon Athenaios epoiei) Dimensions: 51,8 x 20 x 17,5 cm (20 ½ x 7 ¾ x 6 ¾ in.) Provenance : Estate of Laurent Delvaux: on March 2, 1778, the work devolved by inheritance to Jean-Godefroid Delvaux; Brussels, Laurent Delvaux-de Saive collection; Louis Delvaux-Lauwers collection; Ixelles, Octave Delvaux-de Breyne (Willame) collection; Brussels, Mme Madeleine Verstraete collection; Then by descent to the current owner. Bibliography: G. Willame, Laurent Delvaux, 1696-1778, Bruxelles-Paris: G. Van Oest et Cie, 1914, p. 57, no. 51. M. Devigne, De la parenté d'inspiration des artistes flamands du XVIIe et du XVIIIe siècle. Laurent Delvaux et ses élèves, Mémoire de l'Académie royale de Belgique, Classe des Beaux-Arts, 2e série, II, fasc. 1, 1928, p. 10. A. Jacobs, Laurent Delvaux 1696-1778, Paris, Arthena, 1999, p. 106, fig. 32, p. 246, cat. no. S. 29, p. 206. A terracotta figure of the Farnese Hercules, by Laurent Delvaux (Gand 1696 - Nivelles 1778), Rome, 1728-1732 Along with his pupil Gilles-Lambert Godecharle, Laurent Delvaux (1696-1778) is the Flemish sculptor who best embodies the spirit of the 18th century. He was one of the first Flemish sculptors of his time to leave his native country in search of English patronage. He arrived in London in 1717, at the age of 21, and quickly won commissions for funerary monuments at Westminster Abbey. The 1720s were prosperous, and he worked actively alone or in collaboration with Peter Scheemakers le Jeune (Antwerp 1691-1781), expatriate for important English art lovers and collectors such as Lord Castlemaine, the Earl of Rockingham, Sir Andrew Fountaine and finally the 4th Duke of Bedford at Woburn Abbey, where the most important private collection of sculptures by Delvaux is now housed. Thanks to Sir Andrew Fountaine's recommendation to the powerful Cardinal Lorenzo Corsini, who would ascend to the pontifical throne in July 1730 as Clement XII, Delvaux had little difficulty integrating himself into the Roman artistic milieu. By the time he arrived in Rome in 1728, he was already an established artist, a sculptor who had fully mastered his craft. His intention in traveling to Rome was to study the antiques and Baroque statuary. Delvaux stayed in Rome for four years, from 1728 to 1732, staying at the Palazzo Zuccari in Via Gregoriana, now home to the Bibliotheca Hertziana (Max-Planck-Institut). Several terracottas, some signed or monogrammed in Rome, testify to his desire to penetrate the secrets of the emotion that contact with antique marble originals can arouse in an artist sensitive to the classical ideal. These include copies of the Apollino (coll. part.), Porcellino (loc. inc.) and Crouching Venus (loc. inc.) then kept at the Villa Medici, Venus maiden with shell (Brussels, Musées royaux des Beaux-Arts), Hermaphrodite (loc. inc.) and the Eros and Centaur (loc. inc.) belonging to the Borghese Gallery, the Flora (Namur, Musée Groesbeek de Croix) and the Hercules visible in the Farnese Palace before they were transferred to Naples in the second half of the 18th century. Delvaux's reduced terracotta interpretations, most notably of the Farnese Hercules, are conscientious studies that attest to his mastery of modeling, as well as his dexterity in rendering with finesse and delicacy the smallest details of the original statue, the musculature, the curly hair and wispy beard, the lion's skin, right down to the knots in the wood of the heavy club. This figure of Hercules refers to a famous Roman marble, dating from the 3rd century A.D., currently at the Museo Nazionale in Naples, which itself originated from a bronze sculpture dating from the 4th century B.C., probably created by the Greek sculptor Lysippus of Sicyone. The Roman sculpture was discovered in the Baths of Caracalla in Rome in 1556, and acquired by Pope Paul III Farnese, hence its name Hercules Farnese. It was exhibited by the Farnese family under the arcades of the courtyard of the Palazzo Farnese in Rome. This antique marble was certainly studied by Delvaux from small bronze engravings or marble copies during his stay in England, before he observed it in person during his trip to Rome in 1728. His talent as a copyist is also evident here in the rendering of the hero's grave expression. Despite its modest size, this terracotta has not lost its monumenal allure.

Estim. 50 000 - 80 000 EUR

Lot 55 - Laurent Delvaux (Ghent 1696 - Nivelles 1778), Rome, 1728-1732 Sphinx Terracotta model Headed by Némès; resting on a fully molded rectangular base; monogrammed D Dimensions: 21.5 x 42 x 16.5 cm (8 ½ x 16 ½ x 6 ½ in.) Provenance: Estate of Laurent Delvaux: on March 2, 1778, the work devolved by inheritance to Jean-Godefroid Delvaux ; Brussels, Laurent Delvaux-de Saive collection; Louis Jacques Delvaux Collection; Ixelles, Octave Delvaux-de Breyne (Willa me) collection; Brussels, Mme Madeleine Verstraete collection, then by descent to the current owner. Bibliography: G. Willame, Laurent Delvaux, 1696-1778, Bruxelles-Paris: G. Van Oest et Cie, 1914, p. 59, no. 68. M. Devigne, De la parenté d'inspiration des artistes flamands du XVIIe et du XVIIIe siècle. Laurent Delvaux et ses élèves, Mémoire de l'Académie royale de Belgique, Classe des Beaux-Arts, 2e série, II, fasc. 1, 1928, p. 8. A. Jacobs, Laurent Delvaux 1696-1778, Paris, Arthena, 1999, p. 206, p. 249, n°S 35. A terracotta model of a Sphinx, Laurent Delvaux (Gand 1696 - Nivelles 1778), Rome, 1728-1732 "La Sphinge" is monogrammed D but does not bear any mention of Rome. However, the terracotta, with its lovely blond color, is Roman and not Flemish. While the work is just as delicate and conscientious in its craftsmanship and finished appearance, Delvaux seems to have taken a more assertive liberty in interpreting an antique model. The antique sculpture that most closely resembles his figure is one of the two "Sphinxes" that adorned the walls of the museum. Sphinx" that adorned the gardens of the Villa Borghese in Rome (Paris Musée du Louvre, inv. N 32). He transformed the Egyptian archetype into a more graceful, lively image, with a more assertive naturalism and sensuality befitting 18th-century taste. A second Delvaux's later terracotta Sphinge is listed in his work (loc. cit.). The sphinx in Greek mythology is a female monster, an infernal deity with the face and breast of a woman and the body of a lion (androcephalus), which has inspired artists over the centuries. The sphinx / sphinge was sent to Boeotia to punish the city for the crime of its king, Oedipus' father Laios, who had loved Chryssipos in an unnatural way. Installed on a rocky mount, the monster asked a question to all travelers passing by. Those who failed to solve the riddle were immediately killed and devoured. In ancient Egypt, the sphinx was a mythical figure, a symbol of power and vigilance. The oldest representation is the Giza Sphinx, east of the Khephren Pyramid, dated to around 2500 BC. A cross between sculpture and architecture, it features a monumental reclining lion whose head is that of the ruler Khephren or his father Khufu, wearing the royal headdress Nemes. He is depicted here as the guardian of the necropolis, charged with defending it against potential assailants or evil forces. He is the symbol of sovereign strength, protective and formidable to enemies. This terracotta testifies to his desire to penetrate the secrets of the emotion that contact with antique marble originals in Rome can arouse in an artist sensitive to the classical ideal. Delvaux's primary aim in creating these terracotta sculptures in Rome was to build up a stock of working models for his subsequent career in the Netherlands. He kept them in his studio until the end of his life. The sphinx presented here is of major importance in the appreciation of the work of the famous Flemish sculptor. Its appearance on the art market is an important event for collectors, connoisseurs and art historians alike. The sculpture was part of Laurent Delvaux's estate from March 2, 1778, and has been handed down from generation to generation, where it has remained to the present day. We thank Professor Alain Jacobs for his collaboration. We thank Professor Alain Jacobs for his collaboration.

Estim. 20 000 - 30 000 EUR

Lot 56 - PAIR OF LOUIS XV PERIOD "À LA REINE" ARMCHAIRS Carved and gilded wood, the backrest and waistband decorated with asymmetrical rocaille cartouches amid foliate scrolls, the shoulders with foliate motifs, the inverted console legs surmounted by a foliate cabochon, upholstered in 18th-century Aubusson tapestry with polychrome decoration of poppies on a blue background, label numbered "357/46". under the belt of one of the two, "357" for the other H.:94,5 cm (37 ¼ in.) l.:71 cm (28 in.) A pair of Louis XV giltwood fauteuils a la reine Although unstamped, the overall proportions and ornamental richness of the carvings on this pair of fauteuils à la reine bear witness to the finest 18th-century Parisian joinery. The asymmetrical ornamentation of the belt and back in the purest rocaille spirit is combined with classically-inspired "roll" feet, enabling us to date these chairs to the 1730-1740 period. In particular, their profile refers us to the repertoire of the famous Parisian ornamentalist Nicolas Pineau (1684-1754), a celebrated architect and sculptor who, during the first half of the 18th century, expressed remarkable expertise in the art of ornament, making a major contribution to defining the lines of the Rocaille style. Indeed, our chairs can be traced back to a drawing (cf. fig. 1) by Nicolas Pineau, now in the Musée des Arts décoratifs (Inv. A 4501) and illustrated in B.G.B. Pallot "L'Art du Siège au XVIIIe siècle en France", A.C.R. Gismondi Éditeurs, 1987, p. 121. Last but not least, these armchairs are embellished with a precious 18th-century poppy tapestry characterized by a rare vivacity and freshness of color; a comparable tapestry is found on a sofa attributed to Foliot in the Palazzo del Quirinale in Rome, illustrated in B.G.B. Pallot, "L'Art du Siège au XVIIIe siècle en France", A.C.R. Gismondi Éditeurs, 1987, p. 147, or on a pair of frame armchairs from the former Dassault collection, sold at Artcurial Paris, June 16, 2022, lot 4.

Estim. 20 000 - 30 000 EUR

Lot 57 - Italy, late 18th-early 19th century Popes Pair of medallions in carved white marble Set in a black marble frame H. 15.5 cm (6 in.) H. (with frame): 25 cm (9 ¾ in.) A pair of Italian white sculpted marble medallions depicting popes, late 18th-early 19th century

Estim. 500 - 800 EUR

Lot 58 - BRASERO, SPANISH WORK FROM THE 17th CENTURY In brass, the body flanked by putti handles and topped by a removable basin, resting on three claw feet enclosing a ball. H.:43 cm (17 in.) D.:61 cm (24 in.) A 17th century Spanish brass brasero

Estim. 1 000 - 1 500 EUR

Lot 59 - 17th CENTURY CASE, PROBABLY FLEMISH WORK Walnut veneer, tortoiseshell, rosewood and light wood fillets, chased and gilded bronze ornamentation, the lid fitted on the reverse with a mirror and revealing a rosewood and lemon wood interior, standing on flattened ball feet of later period;restorations H.:17 cm (6 ¾ in.) l.:46 cm (18 in.) P.:30 cm (11 ¾ in.) A 17th century gilt-bronze mounted, tortoiseshell, rosewood and bois citronnier casket, probably Flemish * Information for buyers: When leaving the EU, a CITES re-export certificate may be required, at the expense of the future buyer. * Information to buyers: For an exit from the EU, a CITES re-export certificate will be necessary, at the buyer's expense.

Estim. 2 000 - 3 000 EUR

Lot 60 - LOUIS XVI CHANDELIER In crystal and blued glass, chased and gilded bronze mount, with twelve arms of light;electrified H.:130 cm (51 ¼ in.) D.:78 cm (30 ¾ in.) A Louis XVI style gilt-bronze mounted, crystal and blue glass twelve-light chandelier

Estim. 6 000 - 8 000 EUR

Lot 61 - REGENCY PERIOD PEDESTAL DESK Ebony veneer and brass fillets, chased and gilded bronze ornamentation, gilded leather top, front opening with five drawers, cambered legs finished with capridized sabots;restorations H.:78 cm (30 ¾ in.) l.:177 cm (69 ¾ in.) P.:85 cm (33 ½ in.) A Regence gilt-bronze mounted, brass inlaid and ebony bureau a caissons * Information for buyers : When leaving the EU, a CITES re-export certificate may be required, at the expense of the future buyer. * Information to buyers: For an exit from the EU, a CITES re-export certificate will be necessary, at the buyer's expense.

Estim. 8 000 - 12 000 EUR

Lot 62 - BEAUVAIS FABRIC, late 17th century Louis XIV and Madame de Montespan In wool and silk, depicting Louis XIV and Madame de Montespan strolling through the park with its abundant vegetation and waterways, surrounded by dancers and musicians, the border with garlands and scrolls of flowers; wear and old restorations, probably reduced in size. Dimensions: 294 x 482 cm (115 ¾ x 189 ¾ in.) Provenance: By tradition, former Maurice Fenaille collection (1855-1937). A Beauvais historical tapestry, late 17th century

Estim. 12 000 - 15 000 EUR

Lot 63 - LARGE DUCHESSE, LOUIS XV PERIOD Carved and grey relacquered beechwood, decorated with scales and foliate scrolls, cambered legs joined by an X brace, damask upholstery with gold floral decoration on a blue background;restorations, traces of worms, belt reinforcements Dimensions (duchesse): H.:95.5 cm (37 ½ in.) l.:87 cm (34 ¼ in.) Dimensions (toe): H.:31 cm (12 ¼ in.) l.:89 cm (35 in.) P.:83 cm (32 ¾ in.) A large Louis XV gray beechwood lacquered duchesse brisée

Estim. 3 000 - 5 000 EUR

Lot 64 - NEOCLASSICAL CHANDELIER In crystal and rock crystal, chased and gilded bronze mount, with twelve arms of light on two levels; formerly electrified. H.:138 cm (54 ¼ in.) D.:66 cm (26 in.) A Neoclassical style gilt-bronze mounted, crystal and rock-crystal twelve-light chandelier

Estim. 4 000 - 6 000 EUR

Lot 65 - LOUIS XVI STYLE LANTERN In chased and gilded bronze, decorated with pearl garlands and ribbon bows, the bouquet has four arms of light. H.: 130 cm (51 ¼ in.) D.: 67 cm (26 ¼ in.) A Louis XVI style gilt-bronze four-light hall lantern

Estim. 5 000 - 8 000 EUR

Lot 66 - PAIR OF LOUIS XVI STYLE HALF-LUNE COMMODES, SECOND HALF OF THE 19th CENTURY In satinwood and stained-wood floral marquetry on a lemon-wood base, the reserves in amaranth, chased and gilded bronze ornamentation, restored cherry-red marble top, the front opening with a drawer and three leaves;small accidents. H.:100.5 cm (39 ½ in.) l.:152 cm (59 ¾ in.) P.:53 cm (20 ¾ in.) A pair of Louis XVI style gilt-bronze mounted, satinwood, bois citronnier and amaranth demi-lune commodes, second half of the 19th century

Estim. 8 000 - 12 000 EUR

Lot 67 - PAIR OF MONUMENTAL TORCHERS FROM THE SECOND HALF OF THE 19th CENTURY By Alexandre Durenne In cast iron, partly gilded, the shaft representing a child draped in the antique style with raised arms holding a gilded bronze bouquet with eighteen arms of light on two levels, resting on a base in imitation of porphyry, the arms of light monogrammed N, one figure signed A.DURENNE PARIS, the other A.DURENNE, a glass element missing on one of the two;electrified. H.:280 cm (110 ¼ in.) l.:85 cm (33 ½ in.) Provenance: By tradition, Palais de l'Élysée, Paris. A pair of monumental cast iron and gilt-bronze eighteen-light figural torcheres, by Alexandre Durenne, Paris, second half of the 19th century

Estim. 10 000 - 12 000 EUR

Lot 68 - CABINET, CHINA, QING DYNASTY, KANGXI PERIOD (1662-1722) In burgundy lacquer, opening on two doors and revealing eighteen drawers, the front decorated with animated scenes of Europeans in a wooded landscape, the drawers adorned with flowering branches, brass fittings and hinges;restorations, wear and small missing parts. H.:94 cm (37 in.) W.:89 cm (35 in.) P.:51 cm (20 in.) A Chinese lacquer and mother-of-pearl inlaid cabinet, Qing dynasty, Kangxi period (1662-1722)

Estim. 8 000 - 12 000 EUR

Lot 69 - MAZARIN OFFICE FROM THE LATE 17th TO EARLY 18th CENTURIES In European varnish, decorated in gold with a Chinese lacustrian landscape on a black background, the front opening with seven drawers around a central leaf, the sides decorated with birds, supported by eight rosewood uprights joined by a double X brace and ending in flattened ball feet;the base is of later date, small accidents and missing parts. H.:81 cm (31 ¾ in.) l.:118 cm (46 ½ in.) P.:79 cm (31 in.) A parcel-gilt, japanned and rosewood Mazarin bureau, late 17th-early 18th century * Information for buyers : When leaving the EU, a CITES re-export certificate may be required, at the expense of the future buyer. * Information to buyers: For an exit from the EU, a CITES re-export certificate will be necessary, at the buyer's expense.

Estim. 8 000 - 12 000 EUR

Lot 70 - LOUIS XV PERIOD BEDSIDE TABLE In Martin varnish, with polychrome decoration on a cream background of birds and bouquets of flowers in frames of knotted ribbon motifs, restored violet breccia marble top, the front opening with a leaf, cambered legs;small accidents and missing parts. H.:71 cm (28 in.) l.:41 cm (16 ¼ in.) P.:31 cm (12 ¼ in.) Provenance: Former collection of Madame André Tastet ; Sale in Lyons-la-Foret, March 13, 2005, lot 337 ; Acquired by the current owner. A Louis XV varnished Martin bedside table This bedside table is a testimony to the art of 18th-century varnish-makers, the best-known of whom are the Martin brothers who gave their name to this type of varnish. In 1748, four of them founded the Manufacture Royale de vernis à la façon de la Chine. The naturalistic decoration on a white background that adorns this lovely table makes it a rare model. Indeed, it is far removed from the examples of lacquerware from the Orient, which were so fashionable during the reign of Louis XV that craftsmen took them as models. Indeed, most varnished furniture from this period features chinoiserie decorations, treated more or less freely, sometimes even on a blue, green or white background. With its rare, typically Western decoration, in which all stylistic references to the Orient have been abandoned, this delightful little table should be compared with a commode delivered by Gilles Joubert in 1755 for Madame Adélaïde, now preserved at the Château de Versailles. Decorated with a bouquet of flowers and illustrated in A. Forray-Carlier and M. Kopplin, Les secrets de la laque française, le vernis Martin, exhibition catalog, Musée des Arts décoratifs, February 13-June 8, 2014, p.107, cat. 63. The latter is the only piece of varnish furniture for which we can be certain that one of the Martin brothers, Etienne-Simon, was involved.

Estim. 4 000 - 6 000 EUR

Lot 71 - REGENCE STYLE LOUNGE TABLE, MID-20th CENTURY Stamped by the House of Jansen In carved and gilded wood, the top in Chinese lacquer decorated in gold on a black background with a lacustral landscape animated by architecture, the spandrels with a shell motif, the curved legs ending in a scroll, stamped twice JANSEN on the reverse, engraved mark under the top "BN96"; small accidents and missing parts. H.:36 cm (14 ¼ in.) l.:151 cm (59 ½ in.) P.:109 cm (43 in.) Provenance : Estate of Princess Lilian of Belgium, Château d'Argenteuil, Belgium. Bibliography : J. Archer Abbott, Jansen, Acanthus Press, New York, 2006, p.196-203. Comparative bibliography : J. Archer Abbott, Jansen Furniture, Acanthus Press, New York, 2007, p.267. A Regence style giltwood and Chinese lacquer occasional table, mid-20th century stamped by Jansen This coffee table, combining a Chinese lacquer top on a Regency-inspired gilded wood frame, is one of the emblematic designs by Jansen, the famous decorating house founded in 1880 by Jean-Henri Jansen. Maison Jansen had close ties with the Belgian royal family from its involvement in the renovation of the Château de Laeken in the 1890s.In 1959, King Leopold III and his wife, Princess Lilian, called on Stéphane Boudin, director of the House, to entrust him with the major refurbishment and furnishing of their new residence in Argenteuil, near Waterloo (cfr. J. Archer Abbott, Jansen, Acanthus Press, New York, 2006, p.196-203..). It was in one of the salons at Argenteuil, an emblematic location in the heart of nature, that the elegant table we present originated.

Estim. 2 000 - 3 000 EUR

Lot 72 - LOUIS XV PERIOD "AU CHINOIS" CARTEL In chased and gilded bronze, the movement signed Roger/ A Versailles, inscribed in a case surmounted by a Chinese holding a parasol surrounded by scrolls and garlands of flowers;restorations H.:60 cm (23 ½ in.) l.:32 cm (12 ½ in.) Provenance: Collection of a Belgian amateur. Comparative bibliography : H. Ottomeyer, P. Proschel et al, Vergoldete Bronzen, Munich, 1986, Vol. I, p.119, fig. 2.6.4. Tardy, La Pendule Française, Part I, p.196, fig. 4. G. Wannenes, A. Wannenes, Les plus belles pendules françaises de Louis XIV à l'Empire, Edizioni Polistampa, Florence, 2013, p.101. A Louis XV gilt-bronze cartel-clock On the basis of surviving examples, all of which differ slightly in terms of overall composition and quality of chasing, this model seems to have been quite popular as early as the 18th century. A comparable model, signed by Fortin, is illustrated in H. Ottomeyer, P. Pröschel et al, Vergoldete Bronzen, Munich, 1986, Vol I, p.119, fig. 2.6.4 while a second one, the dial signed by François Autray, is preserved in the collections of the Musée des Arts Décoratifs in Paris (inv. 8587). Last but not least, a cartel of this model can be seen in a watercolor by Olaf Fridsberg (1728-1795) in the Stockholm National Museum, depicting the salon of Countess Ulla Tessin (see fig. 1). Among the rare comparable pieces that have appeared on the market in recent years, let's recall the example sold at Sotheby's New York on February 2, 2019, lot 809, or the one sold at Christie's New York on October 19, 2007, lot 205. More recently, an example sold at Artcurial Paris, December 13-14, 2023, lot 26.

Estim. 4 000 - 6 000 EUR

Lot 73 - LOUIS XV-STYLE ELEPHANT CLOCK Based on a model by Jean-Joseph de Saint-Germain In chased, patinated and gilded bronze, the dial signed "J. Gudin/AParis", the movement signed "J.Gudin a Paris", inscribed in a case surmounted by Cupid, supported by an elephant, resting on a rocaille terrace;round movement with two wheel bodies, barrels, anchor escapement, single balance wheel, silk thread suspension, count wheel on the outside, striking on the passage. H.:40 cm (15 ¾ in.) w.:31 cm (12 ¼ in.) Provenance: Former Djahanguir Riahi collection (1914-2014). Comparative bibliography : H. Ottomeyer, P. Prötschel et al, Vergoldete Bronzen, Vol I, p.124, fig. 2.8.5. G. Wannenes, A. Wannenes, Les plus belles pendules françaises de Louis XIV à l'Empire, Firenze, 2013, p.103 and p.135. A Louis XV style gilt and patinated bronze mantel clock, after the model by Jean-Joseph de Saint-Germain

Estim. 5 000 - 8 000 EUR

Lot 74 - REGENCY PERIOD CARTEL AND BRACKET, CIRCA 1720 In tortoiseshell veneer, decorated with chased and gilded bronze, the top adorned with a cockerel and Jupiter facing the Aurora, flanked by two sphinxes, the dial signed "N. DELAUNAY/A PARIS", Roman numerals for the hours on enamelled plates, Arabic numerals for the minutes engraved on the circumference of the dial, the movement signed "AParis/Nicolas Delaunay", above a bas-relief representing Jupiter holding a lyre and Hercules, resting on four arched horses, the console with five uprights surmounted by a volute, rosettes and foliage falls, resting on a four-sided base finished with a seed;restorations to the veneer. H.:133 cm (52 ¼ in.) l.:58 cm (22 ¾ in.) P.:22 cm (8 ½ in.) Nicolas Delaunay (died before 1738) mentioned as a watchmaker as early as 1709. Provenance : Former Akram Ojjeh collection (1918-1991) ; Christie's Monaco sale, December 11-12, 1999, lot 18 ; Former Djahanguir Riahi collection (1914-2014). A Regence ormolu-mounted and tortoiseshell cartel and its wall-bracket, circa 1720, the dial and the movement signed by Nicolas Delaunay. * Information for buyers: When leaving the EU, a CITES re-export certificate may be required, at the expense of the future buyer. * Information to buyers: For an exit from the EU, a CITES re-export certificate will be necessary, at the buyer's expense. A drawing of a cartel by André-Charles Boulle, close to this model, also featuring sphinges emerging from the body, is illustrated in H. Ottomeyer, P. Pröschel et al, Vergoldete Bronzen, Munich, 1986, Vol. I, p.42, fig. 1.3.1. A cartel of a different model, whose case rests on horse-shaped legs identical to those on ours, the movement signed by Nicolas Delaunay, is preserved in the collections of the Museum of Decorative Arts in Prague. Another cartel by Nicolas Delaunay was sold at Christie's New York on October 15, 1988, lot 30, with a base similar to that of our cartel.

Estim. 10 000 - 15 000 EUR

Lot 75 - REGENCY PERIOD FLAT DESK Attributed to Charles Cressent (1685-1768) In satinwood and amaranth veneer, with chased and partly gilded bronze ornamentation, gilded sheathed leather top encircled by a bronze mould, the belt opening onto three large drawers and two secret drawers flanking the central recessed drawer, the sides adorned with Bacchus masks and acanthus scrolls, the curved uprights surmounted by Chinese heads and finished with claws;restorations, accidents and missing parts to the veneer. H.:76 cm (30 in.) l.:202 cm (79 ½ in.) P.:95 cm (37 ½ in.) Provenance: Baron Alfred de Rothschild (1842-1918) at Halton House, Buckinghamshire ; His nephew, Baron Lionel Nathan de Rothschild (1882-1942); The latter's son, Baron Edmund de Rothschild (1916-2009); His Sale, Christie's London, July 3, 1975, lot 65 (Fig. 1); Sale in Paris, Hôtel Meurice, December 1, 1976, lot 177; Former Akram Ojjeh (1918-1991) collection; Sale, Christie's Monaco, December 11-12, 1999, lot 53 (FF. 4,192,500) ; Former Djahanguir Riahi collection (1914-2014). Bibliography : B.E. Escott, The story of Halton House, Country Home of Alfred de Rothschild, 2008, p.70 (illustrated). A. Pradère, Charles Cressent, sculpteur, ébéniste du Régent, Éditions Faton, Dijon, 2003, p.265, fig. 44 (illustrated). A Regence gilt-bronze mounted, satinwood and amaranth bureau plat, attributed to Charles Cressent Within Cressent's oeuvre, flat desks remain the best-known pieces of furniture, and even if their proportion is relatively low in his corpus, they leave the clearest image of Charles Cressent's art among his contemporaries. A Cressent desk comparable to our own is illustrated in the famous portrait of the Turkish Ambassador Saïd Mehmet Pacha painted in 1742 by Jacques-André-Joseph-Camelot Aved (cf. fig. 2). Our desk belongs to the very early part of Cressent's career, in the early 1720's. The influence of André-Charles Boulle's work is clear. André-Charles Boulle is clear in the choice of bronze ornaments, the powerful curve of the legs and the overall shape of the desk. Indeed, the angular heads of women wearing Chinese hats can be found on flat desks in tortoiseshell and brass marquetry produced by Boulle's workshop in the same years, as can the faun masks or leafy falls decorating the lower part of the desk. However, as can be seen from our piece, Cressent departs from Boulle's work by lightening the belt line and lengthening the side drawers to the detriment of the central drawer. Our desk belongs to a group of six pieces identified by Alexandre Pradère in the monograph he dedicated to Cressent's work under the section "Bureaux Plats à Têtes de Chinoises" (cfr. A. Pradère, Charles Cressent, Éditions Faton, Dijon, 2003, p.265): - A first copy from the former collection of Charles Dupleix de Bacquencourt, Duc de Camaran, at Château de Courson (until the beginning of the 20th century, it had its own cartonnier). - A second, acquired by J. Paul Getty in 1949 and now in the Getty Museum in Los Angeles - A third formerly in the Josse collection, sale in Paris, May 29, 1894, lot 152, then in the Doucet collection, then in the Ernest Cronier collection, sale in Paris, December 4, 1905 and finally in the François Coty collection, sale December 1, 1936, lot 84 (disappeared during the war). - A fourth desk formerly owned by the Duke of Sutherland in Trentham (sold July 6, 1925, lot 485). - A final copy from the Béhague collection, where it remains to this day. Like all the examples mentioned, with the exception of the one from the former Sutherland collection, our piece displays a peculiarity found on other large Cressent desks: the masks of bearded men surrounding the central drawer conceal two secret drawers of the same depth as the others. This feature, which seems to have been Cressent's own invention, enabled a secretary to renew ink, sealing wax or paper, without having access to the other three large drawers, which could thus remain locked. Prestigious provenance: Rothschild-Ojjeh The rarity of this model is heightened by its prestigious provenance; indeed, it is featured in an 1892 photo illustrating the salon of Halton House (cfr. fig. 3), the residence in the English county of Buckinghamshire belonging to Baron Alfred de Rothschild (1842-1918). Alfred inherited Halton from his father, Baron Lionel de Rothschild (1808-1879); however, it was Alfred who gave the property its current chateau-like appearance in the most

Estim. 70 000 - 100 000 EUR

Lot 76 - PAIR OF SCONCES FROM THE LOUIS XV PERIOD Attributed to Jean-Joseph de Saint Germain In chased and gilded bronze, with two arms of light decorated with oak leaves, the shaft of one of the two decorated with a boar's head, the other with a stag's head;restorations H.:58 and 56.5 cm (22 ¾ and 22 ¼ in.) w.:28.5 and 26.5 cm (11 ¼ and 10 ¼ in.) Provenance: Aristocratic collection Neuchâtel, Switzerland. Comparative bibliography : H. Ottomeyer, P. Pröschel et al, Vergoldete Bronzen, Munich, 1986, Vol. I, p.109, fig. 2.2.5. A pair of Louis XV gilt-bronze two-branch wall-lights, attributed to Jean-Joseph de Saint Germain This extraordinary pair of sconces with hunting decor and extremely fine chasing can be attributed to Jean-Joseph de Saint Germain (1719-1791), master founder in 1748. The naturalistic treatment of the oak-leaf branches and the curves and counter-curves of the light arms are typical of his work in the 1750s. It is interesting to note that there is a pair of sconces of a similar design to ours, signed Saint Germain; this is made entirely of silver-plated bronze and is illustrated in H. Ottomeyer, P. Pröschel et al, Vergoldete Bronzen, Munich, 1986, Vol. I, p.109, fig. 2.2.5. Comparable examples that have appeared on the market in recent years include : A pair with two light arms, signed Saint Germain, sold at Sotheby's London, December 11, 1970, lot 34. A second pair with two light arms sold at Sotheby's Monaco, February 11-12, 1979, lot 216. A third pair of two-light arms sold at Hôtel Drouot, Paris, December 10, 1993, lot 71. A fourth pair with two light arms sold in Paris, Hôtel Drouot, March 31, 2015, lot 66. A final pair with three light arms sold at Sotheby's Paris, May 05, 2015, lot 171. Finally, a rare Louis XV-period frame in gilt bronze with a comparable decoration of hunting trophies and boar heads was in the Alexander collection before being sold at Christie's New York, April 30, 1999, lot 127. The outer frieze of the frame featured the same ove motif found on the shafts of our sconces.

Estim. 15 000 - 20 000 EUR

Lot 77 - LOUIS XV PERIOD CHEST OF DRAWERS Attributed to Gilles Joubert, trace of stamp, probably Roger Vandecruse dit Lacroix or RVLC Satinwood, violetwood and amaranth veneer, chased and gilded bronze ornamentation with a crowned C, veined gray marble top, front inlaid with crosses opening with two drawers, cambered legs finished with bronze sabots, two very faded stamp marks (...) L.C and several JME hallmarks on the front left jamb H.:88.5 cm (39 ¾ in.) l.:126,5 cm (49 ¾ in.) P.:66 cm (30 in.) The crowned C hallmark was applied to bronze works between March 1745 and February 1749. A Louis XV gilt-bronze mounted, satinwood, kingwood and amaranth commode, attributed to Gilles Joubert, probably stamped by Roger Vadrecruse, called Lacroix or RVLC * Information for buyers: When leaving the EU, a CITES re-export certificate may be required, at the expense of the future buyer. * Information to buyers: For an exit from the EU, a CITES re-export certificate will be necessary, at the buyer's expense. The probable presence of Roger Lacroix's stamp on this commode, which stylistically predates the date when Lacroix became a master in 1755, is an interesting example of the practice of subcontracting under the Ancien Régime. In fact, our commode is more closely related to the work of Gilles Joubert. Admitted to the master's program during the Regency period, well before the use of stamps was imposed by the statutes of 1743, he began working for the Garde-Meuble de la Couronne as early as 1748, subsequently becoming the King's cabinetmaker. The sheer volume of orders received obliged him to subcontract part of his production to his colleagues, and a number of the pieces delivered by Joubert for the Garde Meuble de la Couronne were stamped by Roger Lacroix or Mathieu Criaerd. A chest of drawers stamped by Gilles Joubert, featuring an inlaid lattice decoration set in a comparable amaranth frieze, as well as the same bronze falls and bronze apron, sold at Christie's Paris, December 19, 2007, lot 418 (see fig. 1). The very discreet presence of Lacroix's stamp suggests that the cabinetmaker worked at Joubert's request, acting as restorer.

Estim. 5 000 - 8 000 EUR

Lot 78 - LOUIS XV PERIOD SOFA Attributed to Jean-Baptiste I Tilliard In molded, carved and formerly painted beech, the back and waistband decorated with cartouches flanked by floral scrolls and leafy falls, resting on eight cambered legs ending in a scroll, upholstered in tapestry with polychrome floral decoration on a cream background;reinforcements on the waistband. H.:104 cm (41 in.) l.:168,5 cm (66 ¾ in.) A Louis XV carved beechwood sofa, attributed to Jean-Baptiste I Tilliard A sofa virtually identical to ours, stamped by Jean-Baptiste Tilliard, sold at Christie's London on June 23, 1999, lot 69 (see fig. 1). The latter was characterized by the extreme finesse of its carved motifs, combining hearts inscribed in a cartouche flanked by foliage and strikingly naturalistic floral scrolls, such as those found on our example.

Estim. 4 000 - 6 000 EUR

Lot 79 - LOUIS XVI PERIOD CYLINDER DESK Attributed to Claude-Charles Saunier In satin-finish and satin-finish veneer decorated on all sides, with chased and gilded bronze ornamentation, the cylinder opens with a flap revealing a writing desk, three drawers and two compartments, two sliding side shelves, the belt opens with four drawers, resting on eight sheathed legs;small accidents and missing parts. Dimensions (closed) : H.:115 cm (45 ¼ in.) l.:191,5 cm (75 ½ in.) P.:95 cm (37 ½ in.) A Louis XVI gilt-bronze mounted and satinwood cylinder desk, attributed to Claude-Charles Saunier Stylistically dating from the years 1775-1780, this very large cylinder desk is one of the most accomplished examples of this new type of writing desk, created in the 1760s by Jean-François Oeben, before becoming a great success due to its practicality. With its resolutely architectural lines, veneered in the finest satin-finish and embellished with sober, finely chased bronze ornamentation, it can be compared with the cylinder desks produced by the best cabinetmakers of the Louis XVI period, such as Claude-Charles Saunier. The rare radiant sun motif found on the cylinder of our example can be found on a cylinder desk stamped by Saunier and illustrated in P. Kjellberg, Le Mobilier Français du XVIIIe siècle, Les Éditions de L'Amateur, Paris, 1999, p.821. It should also be noted that the same bronze escutcheons and keyhole adorn the top of the legs of a cylinder desk stamped by Jean Caumont and sold at Sotheby's Paris, April 4, 2023, lot 79.

Estim. 12 000 - 18 000 EUR

Lot 80 - LOUIS XV PERIOD CONSOLE In molded and carved oak, formerly painted, with portor marble top, the belt decorated in the center with an openwork cabochon, the console-shaped uprights decorated with scales and palm leaves surmounted by a foliage cartouche and joined by a spacer with a central burst pomegranate motif;minor accidents. H.:86 cm (38 ¾ in.) l.:172 cm (67 ¾ in.) P.:66 cm (26 in.) A Louis XV carved oak console

Estim. 8 000 - 12 000 EUR

Lot 81 - PAIR OF LOUIS XV PERIOD "À LA REINE" ARMCHAIRS Attributed to René Cresson In molded and carved beech, the back and belt decorated with a pomegranate among foliage, the shoulders with a scale motif, the cambered legs ending in a scroll, upholstered in green velvet with floral decoration. H.:96 cm (37 ¾ in.) w.:67cm (26 ¼ in.) René Cresson, master in 1738 A pair of Louis XV carved beechwood fauteuils a la reine, attributed to Rene Cresson Stylistically dated to the 1740s, this elegant pair of fauteuils à la reine can be traced back to the work of René Cresson (circa 1705-before 1749), Master in 1738 and a member of the eminent dynasty of Parisian joiners active in the first half of the 18th century. The exploded pomegranate motif that decorates the back and waist of our armchairs could be considered one of their signatures; it is found with minute variations on a large number of seats executed by this famous joiner, such as a pair of fauteuils à la reine stamped by René Cresson (master in 1738) sold at Hôtel Drouot, Paris, on December 15, 1998 and illustrated in P. Kjellberg, Le Mobilier Français du XVIIIe siècle, Les Éditions de l'Amateur, Paris, p.241, fig. 1 or a pair of armchairs attributed to René Cresson and sold at Sotheby's Paris, April 19, 2016, lot 62. More recently, a final pair sold at Artcurial Paris, June 14-15, 2023, lot 40.

Estim. 6 000 - 8 000 EUR

Lot 82 - ITALIAN MIRROR FROM THE FIRST HALF OF THE 18th CENTURY, PROBABLY ROMAN WORK In carved and gilded wood, decorated with shells, grotesques and foliate scrolls; the mirror is of later date, with minor damage and missing parts. Dimensions:195 x 99 cm (76 ¾ x 39 in.) An Italian giltwood mirror, first half of the 18th century, probably Roman

Estim. 4 000 - 6 000 EUR

Lot 83 - LOUIS XV PERIOD CONSOLE Carved and gilded wood, restored Flanders marble top, the belt decorated in the center with an openwork palmette flanked by foliage, the uprights in double volutes joined by a spacer decorated with a cartouche;small accidents to the marble H.:80 cm (31 ½ in.) l.:131 cm (51 ½ in.) P.:63 cm (24 ¾ in.) A Louis XV giltwood console

Estim. 8 000 - 12 000 EUR

Lot 84 - MID-COUNTRY ITALIAN SQUARE TABLE, PROBABLY GÉNOIS WORK Veneered with violet wood and satinwood fillets, decorated on all sides, chased and gilded bronze ornamentation, restored Spanish brocatelle marble top, front with one compartment and two leaves, one side drawer, curved legs. H.:86 cm (33 ¾ in.) l.:46 cm (18 in.) P.:33 cm (13 in.) An Italian gilt-bronze mounted, kingwood and satinwood table a en-cas, mid-18th century, probably Genoese * Information for buyers: When leaving the EU, a CITES re-export certificate may be required, at the expense of the future buyer. * Information to buyers: For an exit from the EU, a CITES re-export certificate will be necessary, at the buyer's expense.

Estim. 3 000 - 5 000 EUR

Lot 85 - Lot withdrawn

Lot 86 - PAIR OF CANDELABRES FROM THE LATE 18th CENTURY In chased, patinated and gilded bronze, with three arms of light with acanthus leaves and seeds, rising from a white marble urn and held by a woman draped in the antique style, resting on a turquoise-blue marble base encircled by an oak garland held by a ribbon bow. H.:82 cm (32 ½ in.) l.:26 cm (10 ¼ in.) A pair of late 18th century gilt and patinated bronze, white and blue marble three-light candelabra

Estim. 10 000 - 15 000 EUR

Lot 87 - PAIR OF LOUIS XVI PERIOD "À LA REINE" ARMCHAIRS Carved and lacquered wood, decorated with piastres, medallion-shaped back, tapered and fluted legs, trimmed with gray velvet and trimmings. H.:93 cm (36 ½ in.) l.:61 cm (24 in.) A pair of Louis XVI gray lacquered fauteuils a la reine

Estim. 4 000 - 6 000 EUR

Lot 88 - LOUIS XVI PERIOD LADY'S SECRETARY Stamped by Louis Peridiez In rosewood veneer, chased and gilded bronze ornamentation, veined white marble top, the front opening with a flap revealing a writing desk, four drawers and five compartments, two leaves in the lower part, resting on pilaster feet, stamped twice L.PERIDIEZ and JME hallmark on the right rear post. H.:105 cm (41 ¼ in.) l.:78 cm (30 ¾ in.) P.:37 cm (14 ½ in.) Louis Peridiez, received master in 1764 A Louis XVI gilt-bronze mounted and tulipwood secretaire de dame, stamped by Louis Peridiez * Information for buyers: When leaving the EU, a CITES re-export certificate may be required, at the expense of the future buyer. * Information to buyers: For an exit from the EU, a CITES re-export certificate will be necessary, at the buyer's expense.

Estim. 4 000 - 6 000 EUR

Lot 89 - LOUIS XVI PERIOD CLOCK In chased and gilded bronze, the white enamelled dial signed "LE NEPVEU A PARIS" inscribed in a case flanked by a woman draped in the antique style holding a medallion illustrating the bust of Louis XV in profile and a putto among clouds resting on an ebony veneered base finished with claw feet;formerly fitted with a music mechanism now missing H.:52 cm (20 1/2 in.) W.:38 cm (15 in.) P.:17 cm (6 3/4 in.) Nicolas-Antoine Le Nepveu, master watchmaker in 1773 Provenance: Edmond Borthon Collection (1825-1890). Bibliography : Catalog des Tableaux & Objets d'Art de la Collection E. Borthon, Dijon, Imprimerie Darantiere, MDCCCXC, no. 124 (reproduced). A Louis XVI ormolu and ebony mantel clock, the dial signed by Nicolas-Antoine Le Nepveu * Information for buyers : When leaving the EU, a CITES re-export certificate may be required, at the expense of the future buyer. * Information to buyers: For an exit from the EU, a CITES re-export certificate will be necessary, at the buyer's expense.

Estim. 4 000 - 6 000 EUR

Lot 90 - PAIR OF SCONCES FROM THE LOUIS XVI PERIOD In the taste of Jean-Charles Delafosse In chased and gilded bronze, with three scrolled arms holding laurel garlands, the fluted shaft adorned with a ram's head and surmounted by a fire pot; restorations. H. 50 cm (19 ½ in.) l. 30 cm (11 ¾ in.) A pair of Louis XVI gilt-bronze three-branch wall-lights, in the taste of Jean-Charles Delafosse This pair of sconces is perfectly in keeping with the neoclassical style of the 1760s and 1770s. Their shafts, surmounted by fire pots and decorated with laurel garlands, recall a design attributed to the famous architect and ornamentalist Jean-Charles Delafosse (cfr. H. Ottomeyer, P. Pröschel et al, Vergoldete Bronzen, Munich, 1986, Vol. I, p.186, fig. 3.9.5.). A pair of three-arm sconces, with a ram's head in the center of the shaft, is in the Musée du Louvre and illustrated in ibid p.186, fig. 3.9.2. Other examples with two arms of light are listed at the Residenz in Munich. Comparable examples sold in recent years include the pair sold by Christie's London on July 5, 2013, lot 185, and the five-armed pair sold by Sotheby's New York on May 20, 2010, lot 65. Finally, a variant featuring a satyr's head in place of the ram was sold at Christie's Paris, December 19, 2007, lot 726.

Estim. 5 000 - 8 000 EUR

Lot 91 - LOUIS XVI PERIOD SECRETARY WITH FLAP Stamped by Jacques Van Oostenrijk, known as Dautriche In satinwood veneer, chased ormolu ornamentation, veined white marble top, the front decorated with a frieze of lozenges set in a frieze of tracery, opening with a drawer, a flap revealing a writing case, six drawers and four compartments, two flaps at the bottom, canted uprights, stamped twice J. DAUTRICHE and JME maker's mark on the back. H.:144 cm(56 ¾ in.) l.:101 cm (39¾ in.) P.:41,5 cm (16 ¼ in.) Jacques Van Oostenrijk, known as Dautriche, received master in 1765 A Louis XVI gilt-bronze mounted and satinwood secretaire a abattant, stamped by Jacques Van Oostenrijk, called Dautriche

Estim. 6 000 - 8 000 EUR

Lot 92 - LATE LOUIS XVI-EARLY REVOLUTIONARY LYRE CLOCK In fine blue Sèvres soft-paste porcelain, with chased and gilded bronze ornamentation, the polychrome enamelled dial showing hours, minutes, seconds, days of the month, months and signs of the Zodiac, signed "Vaillant à Paris" and signed "Dubuisson cour des barnabites" under the bezel, surmounted by a radiant female mask, resting on a white marble doucine base and finished with toupie feet, fitted with a glass bell (not illustrated). H.:69 cm (27 ¼ in.) l.:30 cm (11 ¾ in.) Jacques François Vaillant, master watchmaker in 1784 Étienne Gobin, known as Dubuisson, enameler on rue de la Huchette and at Les Barnabites from 1795. Provenance : Acquired from Pendulerie, Paris. Comparative bibliography : P. Kjellberg, Encyclopédie de la Pendule Française du Moyen Age au XXe siècle, Les Éditions de l'Amateur, Paris, 1997, p.230. H. Ottomeyer, P. Pröschel et al, Vergoldete Bronzen, Munich, Vol. I, 1986, p.252, fig. 4.6.26. P. Verlet, Les Bronzes Dorés Français du XVIIIe siècle, Picard, Paris, 2003, p.41, fig. 32. A late Louis XVI-early revolutionary period ormolu-mounted and Sevres blue porcelain lyre mantel-clock, the dial by Jacques François Vaillant, the enamels by Dubuisson Porcelain lyre clocks were first produced by the Manufacture de Sèvres in 1785. intended for the wealthiest connoisseurs of the time, and were available in four colors: turquoise blue, green, pink and bleu nouveau or bleu nouveau or beau bleu, such as the one shown here. Among the beau bleu examples preserved in public collections, let us recall : A first one (cfr. Fig.1) delivered in 1828 for George IV at Carlton House by the Parisian merchant Lafontaine, and still in English royal collections today (cfr. C. Jagger, Royal Clocks, The British Monarchy & its Timekeepers 1300-1900, 1983, p.130, fig.176). A second (cfr. Fig.2), probably delivered for Louis XVI's Salon des Jeux in Versailles and now in the collections of the Musée du Louvre (inv. O.A.R. 483); the latter is illustrated in P. Verlet Les Bronzes Dorés Français du XVIIIe siècle, Picard, Paris, 2003, p.41 fig. 32. A third (cfr. Fig.3) is in the Victoria and Albert Museum, London (cfr. H. Ottomeyer, P. Pröschel et al, Vergoldete Bronzen, Munich, Vol. I, 1986, p.252, fig. 4.6.26.). A final one (cfr. Fig.4), from the Hodgkins collection, now in the Walters Art Gallery, Baltimore (no. 58 2 32). A few pieces appear exceptionally on the public sales market; among the most recent is one from the former Segoura collection (cfr. Fig.5) sold at Christie's New York, October 19, 2006, lot 124. (dial indicating the signs of the Zodiac and enamel by Dubuisson) or the piece from the Dalva collection (cfr. Fig.6) sold at Christie's New York, October 22, 2020, lot 203 (dial enamel by Dubuisson).

Estim. 40 000 - 60 000 EUR

Lot 93 - PAIR OF SCONCES FROM THE LOUIS XVI PERIOD In chased and gilded bronze, with two light arms rising from a shaft featuring a child warrior clad in a lion's skin. H.:37 cm (14 ½ in.) l.:33 cm (13 in.) A pair of Louis XVI gilt-bronze two branch wall-lights

Estim. 6 000 - 8 000 EUR

Lot 94 - PAIR OF TORCHES, ONE OF THE LOUIS XV PERIOD From a design by the Slodtz brothers In chased and gilded bronze, the shaft is an inverted console decorated with rocaille cartouches and foliage, resting on a contoured base. H.:24 cm (9 ½ in.) 7. Comparative bibliography: H. Ottomeyer, P. Pröschel et al, Vergoldete Bronzen, Munich, 1986, Vol. I, p.104, fig. 2.1. A pair of Louis XV gilt-bronze candlesticks, after a drawing by the Slodtz brothers, one of the two period, the other style A comparable pair of torches is in the Wallace Collection, London (inv. F76 and F77); in the catalog entry, Sir Francis Watson points out that their general composition can be related to that of a drawing by the Slodtz brothers in the Bibliothèque nationale de Paris (repr. Portefeuille, pl. 124). Comparable examples sold at public auction include the following: - Ancienne collection Lebeuf de Montgermont, sale in Paris, May 25-30, 1891, lots 326-327; - Former collection of the Earl of Rosebery at Mentmore Castle (Sotheby's Mentmore sale, May 18, 1977, lot 66); - Sotheby's Monaco sale, May 27, 1980, lot 834; - Sotheby's London sale, June 25, 1982, lot 106; - Sale in Paris, Me Ader-Picard-Tajan, March 16, 1987, lot 27.

Estim. 2 000 - 3 000 EUR

Lot 95 - LOUIS XVI PERIOD CONSOLE Carved and gilded wood, veined white marble top, the belt decorated with rosettes and garlands of grained laurel held in place by ribbon bows, the tapered legs with flutes filleted with asparagus stems, topped with a ring of interlacing motifs. H.:91 cm (35 ¾ in.) l.:162,5 cm (64 in.) P.:76 cm (30 in.) A Louis XVI giltwood console

Estim. 8 000 - 12 000 EUR

Lot 96 - PAIR OF LOUIS XVI PERIOD TORCH HOLDERS In the taste of Georges Jacob In carved and gilded wood, the circular top encircled by a frieze of pearls, the baluster shaft topped by rings with a frieze of pearls, gadroons and acanthus leaves, with flutes filleted with foliage, resting on a polygon adorned with foliage supported by a vase flanked by three mermaids, the triangular base with curved sides adorned in the center with a corolla of foliage, one of the two inscribed in ink L. Figini on reverse;restorations H.:161 cm (63 ¼ in.) l.:52 cm (20 ½ in.) A pair of Louis XVI giltwood porte-torcheres, in the taste of Georges Jacob Exceptional in terms of iconography, our pair of torchères stand out for the richness and variety of their ornamentation, as well as the finesse and precision of their carving. Dating from the 1780s, it was probably commissioned by a high-ranking person, a member of the Court or Finance, who was a connoisseur of art and kept abreast of interior design trends. The female figures, in the form of mermaids, are in fact associated with the Turkish fashion that the Count of Artois launched in Paris in the mid-1770s, when he fitted out his first Turkish boudoir in the Palais du Temple in 1776. One of the best-known examples of this fashion is the console table made by Georges Jacob in 1781 for the Comte d'Artois' second Turkish cabinet at the Château de Versailles, featuring mermaids leaning against the top of each of the four legs(1). Georges Jacob used this motif on other pieces of furniture, such as the broken, stamped chaise longue he made around 1780-1785, which came from the Paris antique dealer Seligmann, and later from the collection of Nélie Jacquemart, now in the Musée Jacquemart André(2). It is interesting to note that a mermaid, also very similar to figures found on our torchères, was carved to form one of the armrests on the wax model of a bergère, made around 1780 by Jacques Gondoin (1737-1818), designer for the Garde Meuble de la Couronne, for Marie-Antoinette's seats in the Pavillon de Belvédère in Versailles, now in the Musée du Louvre(3). Two further examples are a Louis XVI-period half-moon console in carved and gilded wood from the former Eugène Kraemer collection(4), which rests on caryatids in terms comparable to our own, and a nightlight from the former Diane de Castellane collection(5), which also features a mermaid leaning against the top of the backrest. Jean-Demosthène Dugourc and the arabesque taste The originality of the decor and the combination of multiple Turkish-style ornaments suggest the work of an ornamentalist. François Joseph Bélanger (1744-1818), first architect to the Comte d'Artois since 1777, or his brother-in-law Jean-Demosthène Dugourc (1749- 1825), appointed in 1780 "cabinet designer to Monsieur, the King's brother", come to mind. For Laborde, a court banker, and for Saintes James, Trésorier de la Marine, two of France's wealthiest private individuals, Dugourc designed pleasure houses and extensive English-style gardens. In 1782, Dugourc published a collection of ornaments under the title Arabesques, a name that came to characterize the ornamental fashion of the early 1780s, featuring female figures terminating in acanthus scrolls, leaning or facing each other on either side of a vase. These motifs invade painted cabinet walls and bronze furnishings(6). Also, on a French-style cabinet decoration project for the Pardo by the same Dugourc, which was never realized, torchieres are depicted on either side of an alcove, the layout of which is reminiscent of our torchieres(7) or that of the torchieres in Princess Kinsky's hôtelparisien on rue Saint Dominique(8). (1) Inv. OA 5234, see Décors, mobilier et objets d'art du Musée du Louvre, de Louis XIV à Marie-Antoinette, Paris, Louvre Éditions, 2014, pp 432-433, cat. 179. (2) Inv. MJAP-M 1445, see B.G.B. Pallot et al, Le Mobilier français du Musée Jacquemart André, Tome 1, Dijon, 2006, pp.182-185. (3) Musée national des châteaux de Versailles et des Trianon, on deposit with the Musée du Louvre, inv. V 6159, see C. Gougeon, Deux exceptionnelles maquettes de meubles en cire provenant du Garde-Meuble de la Couronne, La revue des musées de France. Revue du Louvre, 3, 2014, p.88-93 and in particular fig. 4. (4) Sale Galerie Georges Petit, April 28-29, 1913, no. 168;sale in Paris, Hôtel Drouot, Couturier Nicolay, March 31, 1994;S. de Ricci, Le style Louis XVI, Paris 1913, reproduced p.74. (5) Sotheby's Monaco,

Estim. 30 000 - 50 000 EUR

Lot 97 - PAIR OF 18th CENTURY PLAQUES Attributed to Enrico Hugford (1695-1771) In scagliola on a slate background, depicting harbor views animated by architecture, in later gilded wood frames, red wax armorial stamps damaged on reverse. Marks (on one): the inscription "salottino vicino al salone N°4", and "(...)ford", a printed label numbered "100". Marks on reverse (on the other): inscription "salottino piccolo vicino al salone N°3". Dimensions (unframed):17.5 x 48.5 cm (6 ¾ x 19 in.) Provenance: Former Azzoni collection, Siena. A pair of 18th century scagliola plaques, attributed to Enrico Hugford (1695-1771) This pair of plates can be attributed to Enrico Hugford (1695-1771), one of the most talented masters of scagliole in the 18th century. Born of English parents who moved to Italy around 1686 and entered the service of Grand Duke Cosimo III de Medici, Enrico Hugford (1695-1771) and his brother Ignazio (1703-1778) were important figures in mid-eighteenth-century Florence. Enrico entered the Vallombrosa Abbey in 1711 as a monk. Trained in the art of scagliole by the monks of the Abbey of Santa Reparata in Marradi, he returned to Vallombrosa, where his talent was soon appreciated and recognized. Enrico Hugford played a fundamental innovative role in the art of scagliole. Thanks to his refined technique, he achieved extreme precision. His subjects included landscapes, sea and river views with architecture and figures (cfr. A.M. Massinelli, Scagliola:l'arte della pietra di luna, Rome, 1997, pp.28-32), flowers, animals, genre scenes, portraits and stories of saints. His elegant views draw on the repertoire of 18th-century Veduism, to which he had access through the graphic works preserved in the library of the Vallombrosa monastery and among the drawings and paintings collected and marketed by his brother. Indeed, it is well known that his brother Ignazio, a passionate collector, dealer, restorer and eminent figure in 18th-century Florence, succeeded in promoting and distributing Enrico's scaglioles, particularly in the Tuscan capital. The spread of his work was also made possible by the visit of English and other Europeans to the Vallombrosa monastery on their Grand Tour. Immediately after his death in 1771, Hugford's works became sought-after collectors' items: one of his sea views was offered to Pope Clement XIV by Monsignor Cesare Massa Salazzo of Tortona and placed in the Vatican Museums. The Grand Duke of Tuscany, Pietro Leopoldo, also purchased four landscapes for the Uffizi Gallery in 1779, through the then director Giuseppe Pelli Bencivenni, from the heirs of his brother Ignazio. An aristocratic Sienese provenance On the backs of the panel frames are two fragmentary red wax stamps, which, when reconstituted, reveal the coat of arms of the Azzoni family of Siena. The ancestors of this illustrious family were Azzone di Tocchi and Pietro di Ghino, who gave rise to the Ghinazzoni branch. The presence of the Azzonis is attested as early as the 14th century in Monticiano, in the territory of Siena, where they had developed a profitable iron mining and steelmaking business. In 1380, they financed the construction of the façade of the Augustinian convent church in Monticiano, and lived in a palace in the town's main square. We would like to thank Dr. Anna Maria Massinelli for her research, which enabled us to write this note.

Estim. 15 000 - 20 000 EUR

Lot 98 - mid-eighteenth-century venetian mirror Carved and gilded wood, the pediment adorned in the center with an engraved plaque featuring a draped female figure in the antique style, the frame decorated with staples and floral scrolls. Dimensions:175 x 119 cm (68 ¾ x 46 ¾ in.) A Venetian giltwood mirror, mid 18th century

Estim. 15 000 - 20 000 EUR

Lot 99 - SCAGLIOLE TRAY FROM THE LATE 17th TO EARLY 18th CENTURIES Assembled as a coffee table Rectangular in shape, decorated with foliage and scrolls on a black background, the center decorated with chimeras, resting on a metal base forming a coffee table (modern work, not illustrated). Dimensions (top):64 x 125 cm (25 x 49 ¼ in.) Dimensions (base): H.:33 cm (13 in.) l.:98,5 cm (38 ¾ in.) P.:50 cm (19 ½ in.) A scagliola table top, late 17th-early 18th century, mounted as low table

Estim. 5 000 - 8 000 EUR

Lot 100 - SET OF FOUR PLAQUES, 17th CENTURY ITALIAN WORK, PROBABLY FLORENCE In hardstone marquetry, depicting an elephant, a camel, a lion and another feline, the black marble background surrounded by a Sienna yellow marble border, in blackened wood frames of later date. Dimensions (unframed):11 x 14.5 cm (4 ¼ x 5 ¾ in.) A set of four Italian 17th century pietra dura panels, probably Florence This set of four 17th-century hardstone panels is attributable to the Galleria de' Lavori, the famous Florentine factory founded by Grand Duke Ferdinand I of Tuscany in 1588 and later known as the Opificio delle Pietre Dure. Our plaques were created using the commesso technique, which involves assembling hard stones of various shapes, colors and sizes, then applying them to a marble background, simulating the effects of a painting. These plaques bear precious witness to the craze for exotic animals in the decorative arts in the 17th and 18th centuries. Lions, camels and elephants were described by explorers, then reproduced in engravings, before being reinterpreted by artists who were quick to incorporate them into the decorative arts. In this respect, it is interesting to note that the elephant plate presented here can be compared with an engraving in the British Museum in London (cf. fig. 1) by Adriaen Collaert (1560-1618), a Flemish artist from Antwerp. The animal subjects on our plates are similar to those found on important 17th-century Florentine cabinets, such as the one sold at Christie's London, Exceptional Sale, October 13, 2021, lot 2, or the one sold at Christie's London, July 23, 2020, lot 42.

Estim. 10 000 - 15 000 EUR

Furniture & Works of Art - Evening sale

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Lot 57 - Italy, late 18th-early 19th century Popes Pair of medallions in carved white marble Set in a black marble frame H. 15.5 cm (6 in.) H. (with frame): 25 cm (9 ¾ in.) A pair of Italian white sculpted marble medallions depicting popes, late 18th-early 19th century

Lot 58 - BRASERO, SPANISH WORK FROM THE 17th CENTURY In brass, the body flanked by putti handles and topped by a removable basin, resting on three claw feet enclosing a ball. H.:43 cm (17 in.) D.:61 cm (24 in.) A 17th century Spanish brass brasero

Lot 60 - LOUIS XVI CHANDELIER In crystal and blued glass, chased and gilded bronze mount, with twelve arms of light;electrified H.:130 cm (51 ¼ in.) D.:78 cm (30 ¾ in.) A Louis XVI style gilt-bronze mounted, crystal and blue glass twelve-light chandelier

Lot 64 - NEOCLASSICAL CHANDELIER In crystal and rock crystal, chased and gilded bronze mount, with twelve arms of light on two levels; formerly electrified. H.:138 cm (54 ¼ in.) D.:66 cm (26 in.) A Neoclassical style gilt-bronze mounted, crystal and rock-crystal twelve-light chandelier

Lot 65 - LOUIS XVI STYLE LANTERN In chased and gilded bronze, decorated with pearl garlands and ribbon bows, the bouquet has four arms of light. H.: 130 cm (51 ¼ in.) D.: 67 cm (26 ¼ in.) A Louis XVI style gilt-bronze four-light hall lantern

Lot 85 - Lot withdrawn

Lot 87 - PAIR OF LOUIS XVI PERIOD "À LA REINE" ARMCHAIRS Carved and lacquered wood, decorated with piastres, medallion-shaped back, tapered and fluted legs, trimmed with gray velvet and trimmings. H.:93 cm (36 ½ in.) l.:61 cm (24 in.) A pair of Louis XVI gray lacquered fauteuils a la reine

Lot 93 - PAIR OF SCONCES FROM THE LOUIS XVI PERIOD In chased and gilded bronze, with two light arms rising from a shaft featuring a child warrior clad in a lion's skin. H.:37 cm (14 ½ in.) l.:33 cm (13 in.) A pair of Louis XVI gilt-bronze two branch wall-lights