L13311 F

Sotheby's
The Collection of Suzanne Saperstein: 'Fleur-de-Lys,'

Beverly Hills, California
New York | 19 Apr 2012, 10:00 AM | N08891
LOT 1
A LOUIS XVI STYLE ORMOLU-MOUNTED CHINESE FLAMBÉ-GLAZED
PORCELAIN VASE
19TH CENTURY
height 20 3/4 in.
53 cm
ESTIMATE 20,000-30,000 USD

Lot Sold: 50,000 USD
New York | 19 Apr 2012, 10:00 AM | N08891
LOT 2
A PAIR OF RÉGENCE STYLE ORMOLU PHOTOPHORES
PROBABLY ENGLISH, CIRCA 1830
height with glass 22 in.
56 cm

New York | 19 Apr 2012, 10:00 AM | N08891
LOT 3
A PAIR OF LOUIS XV STYLE CUT GLASS-MOUNTED GILT BRONZE AND
CLEAR GLASS SIX-LIGHT CANDELABRA
height 33 1/2 in.
85.5 cm

Lot Sold: 5,000 USD
New York | 19 Apr 2012, 10:00 AM | N08891
LOT 4
A PAIR OF LOUIS XVI STYLE ORMOLU THREE-BRANCH WALL LIGHTS
height 30 1/2 in.; width 17 1/2 in.
77.5 cm; 44.5 cm

New York | 19 Apr 2012, 10:00 AM | N08891
LOT 5
A PAIR OF LOUIS XV STYLE ORMOLU CHENETS, AFTER A MODEL BY
JACQUES CAFFIÉRI
LATE 19TH CENTURY
both inscribed F. par J. Caffieri.
height 16 1/2 in.
42 cm

CATALOGUE NOTE
An 18th century pair of chenets of this model signed Caffieri and dated 1752, formerly in the Palace of St. Cloud, is in
the Cleveland Museum of Art (see Hans Ottomeyer and Peter Pröschel, Vergoldete Bronzen, Munich, 1986, Vol. I., p.
134, fig. 2.9.1).
New York | 19 Apr 2012, 10:00 AM | N08891
LOT 6
AN IMPORTANT AND VERY FINE NORTH ITALIAN NEOCLASSICAL TWO-
TONE GILDED FIRESCREEN, ATTRIBUTED TO GIUSEPPE BONZANIGO
PIEDMONTESE, CIRCA 1780
upholstered with embroidered silk with the ground worked in polychrome silk and metal
thread within metal galloon trim, probably French or Italian and possibly from a chasuble,
circa 1700.
166 cm; 92.5 cm
PROVENANCE
Bernard Steinitz, Paris
CATALOGUE NOTE
The firescreen can be attributed to Bonzanigo based upon the sculpture of the garlands of flowers and leaves, and in
particular, the use of the double gilding (in this case refreshed) and including elements such as the quiver and the
torch (symbols of love) that are found also on the celebrated firescreen in the Palazzo Reale in Turin, traditionally
attributed to Bonzanigo (see R. Antonetto, op. cit., p. 358, pl. 532).
Compare as well the scroll of leaves found on the famous armchair by Bonzanigo carved for the Principessa di
Piedmonte in the Royal Palace, Turin (ill. G. Ferraris, op. cit., Tav. 13, pl. XIII).
The work of Giuseppe Maria Bonzanigo is regarded as among the best neoclassical furniture ever sculpted. Of
Piedmontese origin, he settled in Turin in 1773, where he worked as a sculptor, wood carver and cabinet-maker and
where he was granted the patronage of the royal family. The following year he was elected to the Compagnia of San
Luca. He worked for the next twenty years until the French invasion of 1796, and was re-appointed to the post on the
fall of Napoleon in 1815.
New York | 19 Apr 2012, 10:00 AM | N08891
LOT 7
A MONUMENTAL LOUIS XV STYLE ORMOLU SIX-LIGHT LANTERN
height 62 1/2 in.; diameter 39 in.
157.5 cm; 99.5 cm

New York | 19 Apr 2012, 10:00 AM | N08891
LOT 8
A LARGE LOUIS XIV CARVED GILTWOOD CENTER TABLE
PART 18TH CENTURY

height 34 1/4 in.; width 73 in.; depth 34 1/2 in.
87 cm; 185.5 cm; 88 cm

PROVENANCE
CATALOGUE NOTE
Certain design elements of this table, such as the scrolling acanthus, the volutes and the double feet, may be seen in
an engraving included in Pierre Le Pautre's (1684-1716) Livre de tables qui sont dans les appartements du roy, sur
lesquelles sont posés les bijoux du Cabinet des Médailles of 1680.
New York | 19 Apr 2012, 10:00 AM | N08891
LOT 9
A LOUIS PHILIPPE SAVONNERIE CARPET, FRANCE
third quarter 19th century
Reduced in size.
approximately 20 ft. 6 in. by 15 ft. 8 in. (6.25 by 4.78 m)

New York | 19 Apr 2012, 10:00 AM | N08891
LOT 10
A PAIR OF EARLY LOUIS XIV CARVED GILTWOOD FAUTEUILS
height 44 1/4 in.
112.5 cm

New York | 19 Apr 2012, 10:00 AM | N08891
LOT 11
A PAIR OF DUTCH BAROQUE CARVED GILTWOOD TORCHÈRES, IN THE
MANNER OF DANIEL MAROT
CIRCA 1700, THE TOPS LATER

height 43 in.
109.5 cm

CATALOGUE NOTE
Daniel Marot (Paris 1663-The Hague 1752), son and pupil of Jean Marot, left Paris in 1685 and moved to the Hague.
He worked extensively for the Stadholder William III of Orange, who also became king of England. Marot supplied
architectural plans, garden designs and schemes of interior decoration for several of King Stadholder's palaces,
notably Palace Het Loo, his favorite hunting lodge. By publishing his designs in 1703, his work became well known
amongst his contemporaries and he is consequently known amongst his contemporaries as the creator of the Louis
XIV style in the Netherlands.
At court, a side table was often flanked by two gueridons, such as the present torchères. Compare the pair in the
Rijksmuseum, which follow closely Marot's designs (Reinier Baarsen, Furniture in Holland's Golden Age, Amsterdam,
2007, pl. 181, 182).
New York | 19 Apr 2012, 10:00 AM | N08891
LOT 12
A LOUIS XIV CARVED GILTWOOD TORCHÈRE
CIRCA 1700, THE TOP PROBABLY LATER
height 60 in.
152.5 cm

Lot Sold: 5,313 USD
New York | 19 Apr 2012, 10:00 AM | N08891
LOT 13
A PAIR OF LARGE EMPIRE PARCEL-GILT, WHITE-PAINTED AND CARVED
TORCHÈRES, AFTER A DESIGN BY CHARLES PERCIER AND PIERRE
FONTAINE
CIRCA 1805
height 92 1/2 in.; width 30 in.; depth 30 in.
235 cm; 76.5 cm; 76.5 cm
ESTIMATE 150,000-250,000 USD
PROVENANCE
Didier Aaron, Paris
CATALOGUE NOTE
The design for this large pair of torchères was almost certainly conceived by the most celebrated architects and
draughtsmen of the Empire, Charles Percier and Pierre Fontaine. Directly inspired by ancient Roman models, which
were originally used to support oil lamps with several lights, these pieces are the purest and most emblematic
examples of Empire design, both in function and design. They closely relate to Bacchic candelabra dating from the
second century A.D., a prime example of such was excavated near Naples in 1777 and sent to Paris in 1798. With its
overall similar form, same fluted lobes, acanthus-clad base and fish scale pattern, this ancient work is particularly
close to the torchères offered here. It is highly possibly that the creator of this pair observed the ancient model in
person and was strongly influenced by its design. Percier and Fontaine were the preeminent proponents of the
Roman revival and the 1827 edition of their Recueil de décoration intérieure includes numerous pieces that show
many similarities with these torchères in their function, form and design. In fact, a giltwood torchère of similar size
made for Monsieur D. (Amiral Dumanoir) and intended to support a girandole depicted in plate 23 has an identical
upper section as the ones here. Another torchère, designed for Monsieur J. in Paris, in plate 4 is raised on a very
similar base decorated with volutes, paw feet terminating in acanthus and ram's heads that are virtually identical to the
ones found on this pair. The present pair of torchères thus appear to be an amalgamation of these two designs, and
can be attributed to Percier and Fontaine.
Related torchères of this exceptional size include a set of eight executed by Marcion circa 1810 for the Tuileries; see
Denise Ledoux-Lebard, Les Ébénistes du XIXème Siècle, Paris, 1984, p. 465, and a pair of ormolu
torchères delivered by Thomire in 1811 for the Grand Cabinet of the Emperor in the Tuileries. Interestingly, the
Thomire torchères were originally projected to be produced in giltwood by Jacob Desmalter at the cost of 78,000
francs; see Pierre Arizzoli-Clémentel, Le mobilier de Versailles, chef-d'oeuvre du XIXe siècle, Dijon, 2009, pp. 262-
165.
New York | 19 Apr 2012, 10:00 AM | N08891
LOT 14
A LARGE AND FINE LOUIS XV CARVED GILTWOOD CONSOLE TABLE,
AFTER A DESIGN BY PIERRE CONTANT D'IVRY
CIRCA 1755
height 36 1/4 in.; width 83 1/2 in.; depth 29 3/4 in.
92 cm; 212.5 cm; 75.5 cm
ESTIMATE 200,000-300,000 USD
PROVENANCE
Almost certainly made for duc de Saint-Aignan circa 1755 for his residence in Paris, hôtel de la rue Sainte-Avoye, and
probably sold after his death in 1776
Christie's New York, October 23, 1998, lot 89
CATALOGUE NOTE
The inventory prepared following the death of Paul-Hyppolyte de Beauvilliers, duc de Saint-Aignan (1684-1776) in
1776 includes six tables, probably a near set, with "brèche verte plaquée" tops. Two of these tables were sold in a
sale that took place on June 17 of the same year and were described as: "Deux tables plaques de vert antique
entourées de marbre blanc chantourné, largeur 6 pieds [195 cm], profondeur 26 pounces [70 cm], sur leur console de
bois sculpté et doré." As the sales entry shows, these tables have very similar measurements to the console offered
here. Furthermore, when the present table was sold in 1998, it had a shaped serpentine verde antico and white
marble top that fits the 1776 description. Along with the other table in the lot, later with Didier Aaron in Paris, and
those four mentioned in the above inventory, it was almost certainly commissioned by the duc de Saint-Aignan at
around 1755. The two tables included in the 1776 sale have basically identical feet, legs, stretchers and aprons with
the only major difference being at the carving of the knee as the table with Didier Aaron was decorated with large
sunflowers instead of scrolling acanthus. A third comparable console table was sold Christie's London, December 4,
1986, lot 96 and is now in the J. Paul Getty Museum, see Bill Pallot, L'Art du Siège au XVIIIe Siècle en France, Paris,
1987, p. 155.
The design of these tables can be attributed to the architect Pierre Contant d'Ivry (1698-1777), who was
commissioned to design furniture for certain interiors of the Palais Royal in Paris and the Bernstorff Palace in
Copenhagen. A design for a console table by d'Ivry, now in the Musée des Arts Décoratifs in Paris, probably intended
for the Salle de Jeu of the Palais Royal, depicts a piece that is very similar to the table offered here. The most
apparent similarities are the upward curling feet, the palm leaves of the legs and the animated knee carved heavily
with acanthus. Being one of the foremost instigators of the rocaille symétrisée classicisante, d'Ivry balanced the
richness and playfulness of the individual Rococo design elements with an overall symmetrical composition. In his
book L'Art du Siège au XVIIIe Siècle en France, Bill Pallot notes that as early as 1754 there was an attempt to
"regulate" the exuberance of the Rococo. Along with d'Ivry, designers and architects such as Charles-Nicolas Cochin
and Jean-François Blondel campaigned for more symmetrical compositions while retaining the asymmetry of
individual design elements by keeping them essentially Rococo. The overall symmetrical arrangement of this console
table clearly reflects this tendency in design and, while made-up of a plethora of quintessentially Rococo elements, it
exhibits very early signs of the forthcoming Neoclassicism, making it not only an emblematic product of the golden age
of the Rococo, but also a product of the ushering in of the new goût grec style in France.
New York | 19 Apr 2012, 10:00 AM | N08891
LOT 15
A NORTH ITALIAN LATE BAROQUE CARVED GILTWOOD MIRROR
GENOA, CIRCA 1720
height 109 in.; width 60 in.
277 cm; 152.5 cm
ESTIMATE 120,000-180,000 USD

PROVENANCE
By repute, the Collection of Princess Radziwill (née countess Branicka), 19th century
CATALOGUE NOTE
A similar mirror with comparable bearded figures was sold Sotheby's London, March, 12, 1997, lot 91.
New York | 19 Apr 2012, 10:00 AM | N08891
LOT 16
A RUSSIAN NEOCLASSICAL ORMOLU AND PATINATED BRONZE VASE,
ATTRIBUTED TO FRIEDRICH BERGENFELDT
CIRCA 1790-1800
79.5 cm; 39.5 cm

PROVENANCE
Probably purchased by William Ewart Gladstone (1809-1898), Hawarden Castle, Flintshire
Thence by descent to Sir William Gladstone, Hawarden Castle, Flintshire
Sotheby's London, December 13, 2000, lot 168
CATALOGUE NOTE
With its applied ormolu decoration on the patinated bronze base depicting hippocampi and a mask of Neptune
spouting water set in a grotto, this lot belongs to a small group of vases executed by Friedrich Bergenfeldt (1768-
1822) at the beginning of the 19th century. A drawing for a vase, now in the Russian State Historical Archive, St.
Petersburg, shows a vase with a base decorated with an identical grotto scene as this vase. The authorship of the
design is disputed: the scholars A.M. Kuchumov and V.K. Shuisky attribute it to the architect Thomas de Thomond
based on Thomond's fondness for aquatic themes and his use of similar Neptune masks on his fountains; however, as
the drawing includes a Cyrillic inscription, it is more likely to have been executed by Andrei Voronikhin, who is know
for his design of similar vases; see Igor Sychev, Russian Bronze, Moscow, 2003, p.97. As a vase with the same base
sold Sotheby's New York, May 24, 2007, lot 283 was stamped F. BERGENFELDT A ST. PETERSBOURG 1802, it is
almost certain that this piece too was executed by Friedrich Bergenfeldt. An ormolu vase of the same form, with the
same base, applied centaur and putto on the body, pierced lip and male-form handles, but with winged female figures
on holding the pierced gallery (figures the present vase most likely also had as indicated by the drill holes atop the
male figures), in Schloss Ludwigsburg is illustrated Hans Ottomeyer and Peter Pröschel, Vergoldete Bronzen, Vol. I,
Munich, 1987, p. 364, fig. 5.12.11. Ottomeyer and Pröschel attribute the vase to Claude Galle, but in light of
Voronikhin's design for the base and Bergenfeldt's signed vase, the Ludwigsburg example must be misattributed.
FRIEDRICH BERGENFELDT (1768-1822)
Bergenfeldt was born in Westphalia and like many other German craftsmen, he moved to Russia in the 1790s. He
worked in the workshop of the bronzier Yan Aoustin, and also with Charles Dreyer, followed by a period of time spent
in Paris. Returning to Russia in 1801 he established his own workshop on the Fontanka Embankment. His
advertisement in the local newspaper announced the sale of all manner of "bronze ornaments such as vases,
candelabra, casolettes, girandoles, chandeliers, veilleuses etc. in the antique taste and of a quality equal to that of
French bronzes."
ANDREI VORONIKHIN (1759-1814)
Voronikhin was born into a family of serfs working on the estates of Count Stroganoff. He trained in painting in the
workshop of Gabriel Yushkova, where he drew the attention of the Count who sent him to train in Moscow. Voronikhin
was liberated in 1785 and for the next several years studied in France and in Switzerland. Count Stroganoff was one
of Voronikhin's most important patrons; he commissioned the former serf to finish the interiors of the Stroganoff
Palace on the Nevskky Prospect, as well as other Stroganov residences. He also built the Kazan Cathedral and
worked with Brenna at Pavlovsk.
New York | 19 Apr 2012, 10:00 AM | N08891
LOT 17
A PAIR OF LARGE RUSSIAN IMPERIAL NEOCLASSICAL KALGAN JASPER
TAZZE
IMPERIAL LAPIDARY MANUFACTORY EKATERINBURG, DATED 1866

inscribed: The Imperial Ekaterin[burg] Lap[idary] Manufac[tory] [Acting in the] Pos[ition of]
Direc[tor] Court Coun[cillor] Lyutin 1866; transliterated: Imperatorskaia Ekaterin. Granil.
Fab. Isprav. Dolzh. Direk. Nadvor. Sovet. Liutin 1866 g.
45.5 cm; 41 cm

CATALOGUE NOTE
Lyutin is undoubtedly a reference to Alexander Ivanovich Lyutin (1814-1884), a designer for and later director of the
Imperial Lapidary Manufactory at Ekaterinburg from 1869. In 1866, he probably temporarily served as Director.
The tazze are a very fine example of Russian craftsman and display the artisans' great skill at cutting and polishing
rare stones and marbles. The Russians were aided by the discoveries of rich deposits of semi-precious stones in the
Urals and further east in Siberia. Towards the end of the 18th century, blocks of Korgon, porphyry, rhodonite, Kalgan
and Aushkul jasper and Nevianok marble were quarried and sent to St. Petersburg to be cut and polished into objects.
The Imperial government established the first factory at Peterhof in the late 18th century, probably employing Italian
craftsmen. Subsequently, the administration set up further factories at Ekaterinburg and Kolyvan in the Urals where
the locally trained stone cutters could work larger pieces of stone. These were active through the third quarter of the
19th century (A. Cheneviere, Russian Furniture: the Golden Age, 1780-1840, New York, 1988, p. 263, fig. 286).
New York | 19 Apr 2012, 10:00 AM | N08891
LOT 18
CHARLES CHAPLIN
FRENCH
1825 - 1891
UN CONCERT EN PLEIN AIR
signed Ch. Chaplin lower left
oil on canvas
73 1/2 by 47 1/8 in.
186.6 by 119.6 cm
PROVENANCE
Galleria Pesaro, Milan (no. 161)
Galerie de Souzy, Paris
New York | 19 Apr 2012, 10:00 AM | N08891
LOT 19
FOLLOWER OF TIZIANO VECELLIO, CALLED TITIAN, VENUS AND ADONIS
oil on canvas
71 1/2 by 51 in.
181.6 by 129.5 cm

CATALOGUE NOTE
This painting repeats the composition by Titian of circa 1553-1554, in the collection of the Prado Museum, Madrid.
New York | 19 Apr 2012, 10:00 AM | N08891
LOT 20
CHARLES-ANTOINE-JOSEPH LOYEUX
FRENCH
1823-1898
ERIGONE
signed and dated Loyeux/1881 lower left, inscribed on the stretcher (Erigone)/ Loyeux
Charles 71 rue de Chabrol, Paris
oil on canvas
44 by 71 in.
111.7 by 180.3 cm

PROVENANCE
Sold, Tajan, Paris, October 25, 1999, lot 178, illustrated (as L'abandon)
EXHIBITED
Probably, Paris, Salon, 1881, no. 1484
CATALOGUE NOTE
In Greek mythology, Erigone was the daughter of the Athenian hero Icarius who learned vintology from Dionysus, god
of winemaking. After giving drink to several shepherds who soon became intoxicated, Icarius was killed by their
fellows who believed he had poisoned them. Erigone was left to find her father's grave under a tree, hanging herself
from its branches in her grief. In vengeance, Dionysus punished the citizens of Athens and in reverence placed Icarius
and Erigone into the sky as stars (Boötes and Virgo). Erigone had been the subject of artists since the Renaissance
and as in many traditional depictions, rather than focus on the more tragic elements of the myth, Loyeux captures the
lovely Erigone lazing against a gleaming blue cloth. An empty chalice has fallen from her hand, while her other holds
a golden pitcher which together with the ripe bunches of grapes allude to her tale.
New York | 19 Apr 2012, 10:00 AM | N08891
LOT 21
A PAIR OF NORTH ITALIAN LATE BAROQUE CARVED GILTWOOD MIRRORS
LOMBARDY,&NBSP;PROBABLY MILAN, MID-18TH CENTURY
279.5 cm; 127 cm
ESTIMATE 100,000-150,000 USD
CATALOGUE NOTE
For three Lombard mirrors with similar overall composition and carving, see Giovanni Mariacher, Specchiere Italiane,
Milan, 1963, Tav. 62, 68 and 74.
New York | 19 Apr 2012, 10:00 AM | N08891
LOT 22
A PAIR OF IMPORTANT ITALIAN ROCOCO CARVED GILTWOOD CONSOLE
TABLES
SICILY OR NAPLES, SECOND QUARTER 18TH CENTURY
height 33 in; width 67 1/2 in.; depth 29 in.
84 cm; 171.5 cm; 74 cm
ESTIMATE 150,000-250,000 USD
CATALOGUE NOTE
A comparable pair of dolphins was a bequest from J.P. Morgan to The Metropolitan Museum of Art in 1906. A series
of four similar dolphins were carved by Filippo Maria Mongiardino for the Palazzo Spinola, Genoa, in the Galleria degli
specchi in 1736.
The presence of aquatic creatures such as the giltwood dolphins and scallop shells in the manner of the most famous
of Genoese sculptors, Filippo Parodi (1630-1702), finely carved with scrolls, are all typically features of Genoese
furniture and the Rococo style in general. The overall composition and design, though, points to a more Southern
composition.
Filippo Parodi, born in Genoa into a family of sculptors, was the most important sculptor of the Baroque in Genoa.
Parodi developed his facility with wood, then transferred his mastery to marble in the 1670's after joining the studio of
Bernini in Rome as an assistant (1655-1661), he returned to Genoa and worked with French sculptor Pierre Puget,
whose work noticeably influenced Parodi's oeuvre. Parodi produced a number of pieces in wood that share similarities
with these tables, echoing as well the overall influence of the Roman Baroque.
New York | 19 Apr 2012, 10:00 AM | N08891
LOT 23
A LOUIS XIV PARCEL-GILT, WHITE-PAINTED AND CARVED TABOURET
LATE 17TH CENTURY
Together with a later copy. 2 pieces.
height 19 in.; width 20 1/2 in.; depth 19 1/2 in.
48.5 cm; 52.5 cm; 49.5 cm

New York | 19 Apr 2012, 10:00 AM | N08891
LOT 24
A PAIR OF RÉGENCE CARVED GILTWOOD FAUTEUILS
CIRCA 1720
height 45 in.
114.5 cm

New York | 19 Apr 2012, 10:00 AM | N08891
LOT 25
A PAIR OF LARGE SPANISH CROWNED ARMORIAL CARVED GILTWOOD
ARMCHAIRS
CIRCA 1830
with a monogram T below a coronet and upholstered leather decorated with the arms
representing Anguilar of Extremadura.
height 44 in.
112 cm

LITERATURE
J. B. Rietstap, Armorial Général, Volume I, p. 16
New York | 19 Apr 2012, 10:00 AM | N08891
LOT 26
A PAIR OF LOUIS XIV CARVED GILTWOOD FAUTEUILS
CIRCA 1680
height 39 1/2 in.
100.5 cm

New York | 19 Apr 2012, 10:00 AM | N08891
LOT 27
A PAIR OF LOUIS XIV PARCEL-GILT, WHITE-PAINTED AND CARVED
TABOURETS
CIRCA 1700
height 21 in.; width 19 in.; depth 19 in.
53.5 cm; 48.5 cm; 48.5 cm

New York | 19 Apr 2012, 10:00 AM | N08891
LOT 28
A LOUIS XIV ORMOLU-MOUNTED TORTOISESHELL, TINTED HORN, BRASS
AND PEWTER-INLAID BOULLE MARQUETRY AND EBONY COFFER ON
STAND, ATTRIBUTED TO ANDRÉ-CHARLES BOULLE
CIRCA 1710
121.5 cm; 71.5 cm; 52.5 cm
ESTIMATE 800,000-1,200,000 USD
PROVENANCE
Probably William Shaw Cathcart, 10th Baron and first Earl Cathcart (1755-1843) and by descent
Collection of Earl Cathcart, Sotheby & Co., London, June 20, 1975, lot 38
Property of a Family Trust, Christie's New York, May 18, 1989, lot 94
CATALOGUE NOTE
Coffres de toillete of various different forms were produced in the workshop of André-Charles Boulle and his sons over
a long period, approximately forty years. These were also produced in considerable quantity as witnessed in the
various inventories listed below and fashionable throughout the late Louis XIV and Régence periods. The first
recorded delivery of a coffret by Boulle was for the Dauphin's apartments at Versailles. This is probably one of the two
coffers in the J. Paul Getty Museum, Malibu (see G. Wilson, Baroque and Régence, Catalogue of the J. Paul Getty
Museum Collection, Los Angeles, 2008, pp. 50-65).
Coffers are mentioned in the various inventories carried out of Boulle's stock. The April 7, 1700 déclaration somptuaire
lists "deux petits coffres avec leurs pieds." The 1715 acte de délaissement in which Boulle made over his property to
his four sons, lists "douze pieds de coffres ayant des guesnes ou de cabinets en bois blanc de sapin 600 L."
A disastrous fire which broke out in the courtyard of the Louvre in the summer of 1720 destroyed much of Boulle's
atelier and of his private collections as well as "douze coffres avec leurs pieds du differentes grandeurs et formes."
The inventory drawn up following Boulle's death in 1732 mentions "une boeste contenant les modèles des ornemens
de coffres de nuit et de toilette pesant ensemble quarante-quatre livres, prisés à raison de vingt-quatre sols la
livre...LIII.XVIs."
Mariette's Nouveaux Deisseins de Meubles et Ouvrages de Bronze et Marqueterie Inventés et gravés par André-
Charles Boulle was published in 1707 and includes on plate III a design for a "Coffre de toilette monté sur son pied."
There are numerous references to such coffers on stand in the 18th centery either in sale catalogues or in valuations
after the death of some of Boulle's clients, such as Pierre Gruyn in 1722 and Etienne Moulle in 1702. The numerous
references in sale catalogues include the Angran de Fonspertius sale (1748), the Julienne sale (1767), the Lauraguais
sale (1772), Crozat de Thiers (1772), the Bonnemet sale (1771), the Lambert sale (1787), Dubois sale (1788) and the
Ségur-de-Clesle sale (1793). It would appear that these coffers were not originally conceived as pairs and it was not
until later on in the 18th century that dealers and collectors started to put together such pairs, one usually in première-
partie, the other in contre-partie.
Other known coffres de toilettes include:

- A pair and a single example in the collection of the Duke of Buccleuch and Queensberry, Boughton House (T.
Murdoch, Boughton House, The English Versailles, London, 1992, pp. 118, 121, figs. 111-112).
- A matched pair, one from the collection of Prince Alexander Mikhailovich Beloselsky-Belozersky (1752-1802), the
other from Alfred Sommier, sold Christie's New York, May 21, 1996, lot 329.
- Royal Collection, Windsor Castle.
-Two in the Wallace Collection (P. Hughes, The Wallace Collection, Catalogue of Furniture, II, London, 1996, nos. 143
and 144 (pp. 669-679).
- One formerly in the de Vogüe Collection (A Pradère, op. cit., p. 86, fig. 41).
- A pair from the Helena Rubenstein Collection.
- One sold Christies London, June 20, 1985, lot 60.
- A pair sold from the Ashburnham Collection, sold Sotheby's London, June 26, 1953, lot 114 (thought to have been
from the 1788 sale of the duc de Richelieu's collection).
- Two sold by the Marquess of Cholmondeley, sold Christie's London, December 8, 1994, lot 22.
By family tradition, this piece was given by Louis XV to Charles, 9th Lord of Cathcart (1721-1776), while he was
secretary to Lord Stormont at the court of Versailles, prior to being appointed British Ambassador to Russia. However,
a Boulle coffer would not have been considered a fashionable gift at that time and this is therefore unlikely. It is more
likely that the coffer was acquired by his son, William Shaw Cathcart, 10th Baron and first Earl Cathcart (1755-1843)
in the first half of the 19th century when interest in acquiring Boulle furniture amongst his compatriots was at its peak.
New York | 19 Apr 2012, 10:00 AM | N08891
LOT 29
A RÉGENCE CARVED GILTWOOD FAUTEUIL
CIRCA 1715
height 45 1/2 in.
115.5 cm

New York | 19 Apr 2012, 10:00 AM | N08891
LOT 30
A CHARLES X AUBUSSON CARPET, FRANCE
circa 1825
approximately 15 ft. by 12 ft. 9 in. (4.57 by 3.89 m)

Lot Sold: 7,500 USD
CATALOGUE NOTE
Please see pages 66-67 for an illustration of this lot.
New York | 19 Apr 2012, 10:00 AM | N08891
LOT 31
A RÉGENCE ORMOLU-MOUNTED KINGWOOD BUREAU PLAT, IN THE
MANNER OF ANDRÉ-CHARLES BOULLE
Adapted, remounted.
82 cm; 198.5 cm; 99.5 cm

New York | 19 Apr 2012, 10:00 AM | N08891
LOT 32
A LOUIS XIV ORMOLU-MOUNTED, BRASS, PEWTER, TORTOISESHELL,
MOTHER-OF-PEARL AND TINTED HORN-INLAID BOX
CIRCA 1710
height 4 1/2 in.; width 10 1/2 in.; depth 8 in.
11.5 cm; 27 cm; 20.5 cm

Lot Sold: 9,375 USD
New York | 19 Apr 2012, 10:00 AM | N08891
LOT 33
A RÉGENCE ORMOLU-MOUNTED AND BRASS-INLAID AMARANTH ENCRIER
CIRCA 1715
9 cm; 42.5 cm; 25 cm

New York | 19 Apr 2012, 10:00 AM | N08891
LOT 34
AN ITALIAN BAROQUE MECCA AND CARVED GILTWOOD CENTER TABLE
INCORPORATING 17TH CENTURY ELEMENTS

height 32 in.; width 42 1/2 in.; depth 25 in.
81.5 cm; 108 cm; 63.5 cm

New York | 19 Apr 2012, 10:00 AM | N08891
LOT 35
A LOUIS XIV WALNUT, FRUITWOOD AND MARQUETRY SMALL TABLE
LATE 17TH CENTURY, SHAFT AND BASE LATER
70 cm; 50 cm; 50 cm

Lot Sold: 6,875 USD
CATALOGUE NOTE
A similar writing table with folding top decorated with tortoiseshell, brass and pewter inlay and attributed to Pierre
Golle is in the J. Paul Getty Museum; see G. Wilson, Baroque and Régence, Catalogue of the J. Paul Getty Museum
Collection, Los Angeles, 2008, pp. 102-111.
New York | 19 Apr 2012, 10:00 AM | N08891
LOT 36
A LOUIS XVI ORMOLU-MOUNTED PLUM-PUDDING MAHOGANY TABLE À
ÉCRIRE
CIRCA 1780, STAMPED C. TOPINO JME
Charles Topino, maître in 1773
70.5 cm; 50.5 cm; 34.5 cm

CATALOGUE NOTE
Although Charles Topino is most well known for his intricate marquetry work incorporating a wide range of different
woods, he also executed some more somber pieces in mahogany that he decorated with little but well-placed ormolu
mounts. Such pieces date from the 1780s and include this table, a bonheur de jour and a demilune console table
illustrated Sylvain Barbier Sainte Marie, Charles Topino, Paris, 2005, pp. 140 and 143, respectively.
New York | 19 Apr 2012, 10:00 AM | N08891
LOT 37
A SET OF DIRECTOIRE MAHOGANY LIBRARY STEPS
Legs later.
height closed 21 in.; height open 33 in.
53.5 cm; 84 cm

New York | 19 Apr 2012, 10:00 AM | N08891
LOT 38
A LOUIS XV ORMOLU-MOUNTED BOIS SATINÉ, AMARANTH AND
MARQUETRY TABLE À ÉCRIRE
CIRCA 1755, STAMPED CAREL, REMOUNTED
Jacques-Philippe Carel (1688-c.1755), maître in 1723
73 cm; 40 cm; 33 cm

New York | 19 Apr 2012, 10:00 AM | N08891
LOT 39
A RÉGENCE CARVED WALNUT FIRE SCREEN
CIRCA 1715
upholstered à châssis with Louis XIV petit-point wool and silk needlework panel, French,
early 18th century.
120 cm; 84.5 cm

New York | 19 Apr 2012, 10:00 AM | N08891
LOT 40
A PAIR OF RÉGENCE CARVED GILTWOOD FAUTEUILS
CIRCA 1715
height 45 in.
114.5 cm

New York | 19 Apr 2012, 10:00 AM | N08891
LOT 41
A PAIR OF ITALIAN BAROQUE GRAY-PAINTED AND CARVED
CANDLESTICKS
17TH CENTURY
height 25 1/4 in.
64.5 cm

New York | 19 Apr 2012, 10:00 AM | N08891
LOT 42
A LOUIS XV CARVED GILTWOOD FRAME
CIRCA 1735, REDUCED IN SIZE
containing a portrait of Louis XIV by Hyacinthe Rigaud (after) engraved by Pierre Drevet
(1664-1738).
height 41 1/2 in.; width 31 in.
105.5 cm; 79 cm

New York | 19 Apr 2012, 10:00 AM | N08891
LOT 43
A PAIR OF LOUIS XIV STYLE ORMOLU AND PATINATED BRONZE FIGURES
OF MOORISH SLAVES, AFTER PIETRO TACCA
height 19 in.
48.5 cm

PROVENANCE
Sotheby's New York, Collection of Mr. and Mrs. Saul P. Steinberg, May 26, 2000, lot 129
New York | 19 Apr 2012, 10:00 AM | N08891
LOT 44
A LOUIS XIV ORMOLU-MOUNTED TORTOISESHELL AND BRASS-INLAID
MANTEL CLOCK
CIRCA 1700,&NBSP;SIGNED THURET, THE MOVEMENT SIGNED THURET A
PARIS
51 cm; 26 cm; 16 cm

CATALOGUE NOTE
Only three versions of this clock are known: two, one of of which is slighlty different as it is surmounted by a finial
depicting a single putto with a tambourine, are in the Musée des Arts Décoratifs, Paris, and an identical one sold
Ader-Picard-Tajan, Palais d'Orsay, June 13, 1979.
New York | 19 Apr 2012, 10:00 AM | N08891
LOT 45
A LOUIS XV ORMOLU-MOUNTED TORTOISESHELL CARTEL CLOCK
CIRCA 1730, THE DIAL AND MOVEMENT SIGNED CHARLES BALTAZAR A
PARIS
stamped with an indecipherable stamp and twice JME.
131 cm; 55 cm; 31.5 cm

New York | 19 Apr 2012, 10:00 AM | N08891
LOT 46
FOLLOWER OF JEAN RAOUX, LA SURPRISE
oil on canvas, irregular shape, in an ornately carved and gilt 18th century frame.
45 by 53 1/4 in.
114.3 by 135.3 cm

Lot Sold: 6,250 USD
CATALOGUE NOTE
This painting repeats the composition by Raoux, signed and dated 1727, in the collection of Sanssouci Palace,
Potsdam.
New York | 19 Apr 2012, 10:00 AM | N08891
LOT 47
ADOLPHE LALIRE (CALLED LA LYRE)
FRENCH
1850-1935
LE CHANT DES SIRÈNES
signed and inscribed AD. LALYRE./CARTERET lower right
oil on canvas
65 1/8 by 94 in.
165.4 by 238.7 cm

PROVENANCE
Galerie de Souzy, Paris
CATALOGUE NOTE
A student of William Bouguereau, La Lyre came to be known as "the painter of sirens." In many of his large scale
compositions, La Lyre captured the mythological maidens, often fish-tailed, who lured sailors with their song. Joining
the sirensin the present work, children play with a bow and quiver of arrows while another winged figure, likely Cupid,
holds tight to a slippery rock perhaps suggesting the danger of seduction and romance.
New York | 19 Apr 2012, 10:00 AM | N08891
LOT 48
A LOUIS XV ORMOLU-MOUNTED AMARANTH, BOIS SATINÉ AND
MARQUETRY TABLE EN CHIFFONNIÈRE
MID-18TH CENTURY
71.5 cm; 40 cm; 34 cm

New York | 19 Apr 2012, 10:00 AM | N08891
LOT 49
A LOUIS XVI ORMOLU-MOUNTED TULIPWOOD GUÉRIDON
height 29 in.; width 13 in.; depth 10 1/4 in.
74 cm; 33 cm; 26 cm

Lot Sold: 6,250 USD
New York | 19 Apr 2012, 10:00 AM | N08891
LOT 50
A DIRECTOIRE BRASS-INLAID MAHOGANY GUÉRIDON
73 cm; 56 cm; 44.5 cm

Lot Sold: 4,375 USD
New York | 19 Apr 2012, 10:00 AM | N08891
LOT 51
A PAIR OF LOUIS XVI CARVED GILTWOOD FAUTEUILS
CIRCA 1780, STAMPED H. JACOB
Henri Jacob (1753-1824), maître in 1779
height 40 1/2 in.
103 cm

PROVENANCE
Prince Pallavicini, 19th century
Almost certainly Baron Alphonse James de Rothschild (1827-1905), 2 rue de Saint-Florentin, Paris (Salon Rouge) and
by descent to
Edouard Alphonse James de Rothschild (1868-1949)
Piasa, Paris, November 15, 1996, lot 93
LITERATURE
Pierre Kjellberg, Le Mobilier Français du XVIIIe Siècle, Paris, 2002, p. 477 (illustrated)
New York | 19 Apr 2012, 10:00 AM | N08891
LOT 52
en suite with the previous lot.
height 40 1/2 in.
103 cm

PROVENANCE
See the provenance of the previous lot.
LITERATURE
New York | 19 Apr 2012, 10:00 AM | N08891
LOT 53
CIRCA 1780,&NBSP; STAMPED H. JACOB

en suite with the previous lot, with paper label inscribed Salon Rouge.
height 40 1/2 in.
103 cm

PROVENANCE
See the provenance of lot 51.
LITERATURE
New York | 19 Apr 2012, 10:00 AM | N08891
LOT 54
A PAIR OF LOUIS XVI CARVED GILTWOOD BERGÈRES
height 41 1/4 in.
105 cm
ESTIMATE 120,000-180,000 USD

PROVENANCE
See the provenance of lot 51.
LITERATURE
New York | 19 Apr 2012, 10:00 AM | N08891
LOT 55
A LOUIS XVI STYLE CARVED GILTWOOD CANAPÉ, IN THE MANNER OF
HENRI JACOB
MODERN
height 41 in.; length 84 in.
104 cm; 213.5 cm

New York | 19 Apr 2012, 10:00 AM | N08891
LOT 56
A RÉGENCE CARVED GILTWOOD CENTER TABLE
CIRCA 1720
72 cm; 81.5 cm; 53.5 cm

PROVENANCE
Collection of Baron and Baroness Fould-Springer, early 20th century
New York | 19 Apr 2012, 10:00 AM | N08891
LOT 57
A PAIR OF SWEDISH GUSTAV III CARVED GILTWOOD ARMCHAIRS
THIRD QUARTER 18TH CENTURY
height 37 1/2 in.
95.5 cm

PROVENANCE
Sotheby's New York, Collection of Arne Schlesch, April 5, 2000, lot 359
New York | 19 Apr 2012, 10:00 AM | N08891
LOT 58
A LOUIS XV STYLE CARVED GILTWOOD CHILD'S FAUTEUIL
SECOND HALF 19TH CENTURY
height 28 in.
71.5 cm
ESTIMATE 300-500 USD

Lot Sold: 313 USD
CATALOGUE NOTE
Not illustrated.
New York | 19 Apr 2012, 10:00 AM | N08891
LOT 59
A NAPOLEON III AUBUSSON CARPET, FRANCE
circa 1865

New York | 19 Apr 2012, 10:00 AM | N08891
LOT 60
A SAVONNERIE FRAGMENTARY CARPET, FRANCE
late 19th century

Lot Sold: 8,750 USD
CATALOGUE NOTE
New York | 19 Apr 2012, 10:00 AM | N08891
LOT 61
A GROUP OF TWENTY SILK AND VELVET PILLOWS, MODERN
MODERN
the materials French and Italian, 18th century. Together with a silk coverlet. 21 pieces.
height of largest approximately 15 in.; width of largest approximately 22 in.
38.5 cm; 56 cm

New York | 19 Apr 2012, 10:00 AM | N08891
LOT 62
A GROUP OF TWENTY-TWO SILK AND VELVET PILLOWS, MODERN
MODERN
the material French and Italian, 18th century. Together with a silk and cut velvet coverlet. 23
pieces.
height of largest approximately 15 in.; width of largest approximately 23 in.
38.5 cm; 58.5 cm

New York | 19 Apr 2012, 10:00 AM | N08891
LOT 63
A MEISSEN PORCELAIN SWEETMEAT STAND
MID-18TH CENTURY
modelled with figures allegorical of the Four Seasons.
height 13 1/2 in.
34.3 cm

New York | 19 Apr 2012, 10:00 AM | N08891
LOT 64
A PAIR OF MEISSEN PORCELAIN CANDELABRA
CIRCA&NBSP;1740
from the model by Johann Joachim Kändler and Johann Friedrich Eberlein for the 'Swan
Service,' now mounted as lamps.
height of candelabra 18 in.
45.7 cm

CATALOGUE NOTE
A similar candelabrum from the 'Swan Service' made for Count von Brühl is illustrated in Schwanen service,
Meissener Porzellan Für Heinrich Graf Von Brühl, p. 166, cat. no. 40, where the model is discussed and it is noted
that examples exist without the von Brühl arms in the Residenz, Ansbach and the collection of the Carnegie Museum
of Art, Pittsburgh.
New York | 19 Apr 2012, 10:00 AM | N08891
LOT 65
A LOUIS XV STYLE GILT BRONZE AND MEISSEN PORCELAIN TWO-BRANCH
CANDELABRUM
19TH CENTURY
15 cm; 16 cm

Lot Sold: 2,000 USD
New York | 19 Apr 2012, 10:00 AM | N08891
LOT 66
A PAIR OF LOUIS XVI STYLE ORMOLU-MOUNTED CANTON ENAMEL
PORCELAIN VASES, NOW MOUNTED AS LAMPS
LATE 19TH CENTURY
height of object 12 1/4 in.; height with fittings 22 1/4 in.
31.5 cm; 57 cm

Lot Sold: 5,000 USD
New York | 19 Apr 2012, 10:00 AM | N08891
LOT 67
A LOUIS XV ORMOLU AND CHINESE TURQUOISE GLAZE PORCELAIN
GROUP OF THREE MEN RIDING BULLS
THE ORMOLU MID-18TH CENTURY

height 5 in.
13 cm

New York | 19 Apr 2012, 10:00 AM | N08891
LOT 68
A LOUIS XV STYLE MEISSEN PORCELAIN-MOUNTED GILT BRONZE
CENTERPIECE
THE PORCELAIN&NBSP;18TH CENTURY, THE GILT BRONZE LATE 19TH
CENTURY
18.5 cm; 24.5 cm

New York | 19 Apr 2012, 10:00 AM | N08891
LOT 69
CIRCA 1715
72.5 cm; 69 cm; 47 cm

New York | 19 Apr 2012, 10:00 AM | N08891
LOT 70
A RARE AND HIGHLY IMPORTANT ROYAL GERMAN ROCOCO PORCELAIN-
MOUNTED TWENTY-ONE LIGHT ORMOLU CHANDELIER, KÖNINGLICHE
PORZELLAN MANUFAKTUR, BERLIN
CIRCA 1765-1786, THE PORCELAIN FIGURES AFTER MODELS BY FRIEDRICH
ELIAS MEYER, THE ORMOLU MOUNTS AFTER OR BY PIERRE GEOFFROY
Replacements to porcelain, including central section, some replacements to ormolu.
height approximately 66 in.; diameter approximately 45 in.
167.5 cm; 104.3 cm
ESTIMATE 500,000-800,000 USD

PROVENANCE
Friedrich II (1712-1786), King of Prussia (1740-1786)
CATALOGUE NOTE
Comparative Literature:
Berliner Porzellan, die Manufaktur Friedrich des Grossen 1763-1786, Georg Lenz, Berlin 1913, p. 25, ill. 104
Kaiserlicher Kunstbesitz aus dem Holländischen Exil Haus (exh. cat.), Doorn, Berlin, 1991 for a discussion and
illustration of the identical chandelier by Pierre Geoffroy, p. 111, Cat. nr. 103
A related Meissen 15-light chandelier, circa 1750, was sold Sotheby's Monaco, February 8, 1981, lot 246.
In 1763, King Friedrich II of Prussia bought from Johann Ernst Gotzkowsky the porcelain factory which he had
founded two years before, and it became: Köningliche Porzellan Manufaktur. The production from the first period
friderizianisches Rokoko of KPM can be considered as the most beautiful Rococo porcelain produced in Germany.
This chandelier is one of a group produced at the KPM Manufactory in Berlin between 1765 and 1786.
The documentation of the Royal Porcelain Manufactory on order and delivery notations from the period of Frederick
the Great is not available. Only the Annexes published by Georg Lenz are available. These contain the King's Privy
Purse and other acquisitions, the report by the first Director of the Porcelain Manufactory, Johann Georg Grieninger,
"Of the Origin and Continuation of the Royal True Porcelain Manufactory at Berlin," and the contemporary written
proof in the Manufactory's book of models. Lenz was able to indicate invoices of other coffers from which political gifts
by Frederick the Great were paid.
In the King's Privy Purse invoices, under acquisitions from the Porcelain Manufactory, two large 15 and 21 light
chandeliers first appear on Christmas 1765. The only known stamp on such chandeliers is Pierre Geoffroy, who
headed the bronze workshop of the KPM and died in 1765, which confirms a probable date of creation for the present
model. In 1753, the chaser Pierre Geoffroy came to Potsdam from Paris to be employed in the Factory of Ormolu
Works founded by Johann Melchior Kambly in 1752. With a view to encourage manufacturing, the creation of new
industries, and with an eye to economically advantageous production of gilt bronze work in his own country, Frederick
II had granted the concession to Kambly, and the necessary artisans working in Paris as early as 1751. Between 1753
and 1754, Geoffroy, together with the model maker Henry-Nicolas Cousinet, the founder Dalliel Valy and the gilder
Nicolas Morel, produced four large bronze crowns composed of dragons for the Neue Palais, and four large bronze
chandeliers, also from models by Cousinet, for the Marble Hall of the Stadtschloss in Potsdam. In 1754-1755,
Geoffroy directed the chasing of the bronze work in the Bronze Hall of Stadtschloss in Potsdam, whose design is
partly attributed to Kambly, and to whom the execution is entirely due. The crown chandelier produced in 1756 for the
Chinese House, also attests to Geoffroy's excellent working methods.
The figures of Fame and the cherubs are after a model by Friedrich Elias Meyer (1723-1785), who was the head of
the figure making section of the Gotzkowsky Manufactory and who was appointed the "Directeur des Ornaments" of
the Manufactory at the time of Frederick the Great. In the KPM book of models, which had been kept since 1763, the
large crown chandeliers with the two figures of Fame are entered under Model number 111: One Fame, seated,
holding the trumpet low drawn with B, and under Model number 173: two seated children on a case, were also used
on the large 'Crown chandelier, one with A, one with B.
The influence of Johann Michael Hoppenhaupt d.Ä. is visible for the composition of the crown chandelier. Compare:
Kronleuchter, Mit Behang aus Bergkristall und Glas sowie Glasarmkronleuchter bis 1810, Käthe Klappenbach, Berlin,
2001, pg. 169, ill. 162.
Unsigned examples in the Blue Room and the Hunting Room are today still in situ at Palace Sanssouci. The one
signed by Pierre Geoffroy, today in Huis Doorn (the Netherlands in the collection of the former Royal family of Prussia
and exhibited at the Rijksmuseum in Amsterdam, November 2, 2001 until February 3, 2002.
Exhibition cat. pl. 18, p. 81, Rococo in Nederland, Zwolle, 2001), hung in 1913 in the Empress' private apartment in
the Neue Palais, and probably originally in the lower Concert Room.
The frequent payments from the royal purse for the KPM crown chandeliers leads one to assume that such pieces
were gifts of choice by Frederick the Great to other courts.
Such presents were especially intended for Courts with relational or political connections, his brothers and sisters,
nieces and nephews, but also friends, military and important political personalities. These gifts were intended not only
to win the personal favor of recipients, but also to display the artistic accomplishments of one's own country.
The following KPM crown chandeliers, acquired and offered by Frederick the Great, can be documented:
- On Christmas 1764 "a chandelier K1. Type 15 lights" was acquired for 1000 Rtlr.25 (Reichstaler).
- On January 1766, 1000 Rtlr. was paid for "1 Crown chandelier K1 5e with 15 lights", and presumably all sent to the
Braunschweig Court for 50 Rtlr. Close relations with his House existed given that Frederick II's wife, Elisabeth
Christine, was the daughter of Duke Ludwig Rudolf of Braunschweig. The location of this crown chandelier is today
unknown.
- On December 1768, the amount of 1500 Rtlr. was paid for "1 piece colorfully painted crown chandelier large type".
- On October 1769, in addition to a snuff box with his portrait, then offered to the Elector's widow, Maria Antonia von
Sachsen, girandoles and candelabra, "1 crown chandelier largest type with 21 lights", which cost the private purse the
same amount of 1500 Rtlr. It had, after she viewed the products of the manufactory, replaced the Meissen chandelier
that was not so big and beautiful. She also flattered the Berlin Manufactory when she compared it to a schoolgirl who
wanted to surpass her teacher, the Meissen Manufactory. In 1913, the crown chandelier hung in the Tower Room
arranged as a porcelain cabinet in her Schloss in Dresden. The piece was probably stored during the Second World
War, but its further destiny is not known.
- In 1770, Frederick the Great also offered a large model to William V of Orange and his wife Friederike Sophie
Wilhelmine, niece of the Prussian King. It is now in the Palace Het Loo in William V salon.
- Again from Grieninger's report it can be assumed that in 1771 Frederick the Great sent his nephew, Gustav III of
Sweden, and his mother, Frederick's sister Louise Ulrike, "a crown chandelier, various compositions of a large, finely
painted and decorated vases, also of garnished figures and other porcelains as gifts", after the Swedish King had
visited the manufactory on his homeward journey from Paris via Berlin. In an inventory of services and vases from the
Berlin Manufactory concerning Louise Ulrike and Gustav III, all trace of a crown chandelier is missing.
- On 1 June, 1772, a crown chandelier together with extensive desert services and table compositions, a vase and
figure composition, were packed in crates for Catherine II as well as for the successor to the throne, the Grand Duke
Paul, and arrived in Saint Petersburg in mid-July. The crown chandelier, which hung in the Pavlosk Palace until the
twentieth century, is however today no longer traceable.
- As for the "large crown chandelier with 21 lights", which was, according to Lenz, produced for the Margrave Carl
Alexander of Ansbach, which again cost the royal purse 1500 Rtlr, on December 1722, is probably the 15 light
chandelier which is today in Schloss Ansbach, offered by Frederick the Great in 1773 after his visit to Ansbach
(Hofmann 1932, p. 431, ill. 475; Köllmann/Jarchow 1987, vol. 1, p. 182, 184, vol. 2, ills. 622 and 620, for a pair of
related wall lights; Hofmann 1932 - Friedrich H. Hofmann: Das Porzellan der europäischen Manufakturen im XVIII.
Jahrhundert, Berlin 1932; Köllmann/Jachrow 1987 - Erich Köllmann und Margarete Jarchow: Berliner Porzellan, vol. 2,
München 1987).
- A pair of related wall lights, circa 1765-68, are in The Metropolitan Museum of Art (acc. no. 2002.437.1, .2).
- In September 1775, a stock of a large and a small crown chandeliers were listed (the value of the latter this time at
1200 Rtlr.), as well as clocks with porcelain cases, table-wall and vase-lights, which were documented in a Cabinet
record of Frederick the Great.
- A KPM crown chandelier was also present in the Residenz Schloss Weimar in the second half of the nineteenth
century, which could not be proven by archives. From an indistinct photograph in an album it is not possible to
distinguish whether it is a 15 or 21 branch version of the crown chandelier.
- Another KPM crown chandelier is located at the Amalienborg Palace in Copenhagen and was part of the collection
of Queen Marie Louise of Denmark, Princess of Hesse-Kassel (1817-1898).
- The KPM chandelier in the Berlin Kunstgewerbemuseum comes directly from the ownership of the Manufactory.
Information kindly provided by Dr. Samuel Wittwer, Dr. Alfred Ziffer and Drs. Josephine Baas.
New York | 19 Apr 2012, 10:00 AM | N08891
LOT 71
A NORTH ITALIAN NEOCLASSICAL CARVED GILTWOOD CONSOLE TABLE,
CIRCLE OF GIUSEPPE MARIA BONZANIGO, POSSIBLY BY BARTOLOMEO
MANGHETTI OR FRANCESCO BOLGIÉ
PIEDMONT, LATE 18TH CENTURY
95.5 cm; 126.5 cm; 55 cm

CATALOGUE NOTE
Comparative literature:
R. Antonette, Il mobile piemontese nel settecento, Torino, 2010, p. 388, figg. 10.A,12 for a comparable table and p.
394 for a bed carved by Bartolomeo Manghetti
The finely detailed carving of this elegant console is characteristic of the circle of carvers and cabinet makers in Turin
patronized by the Royal family. The most celebrated of these was Giuseppe Maria Bonzanigo (1745-1820), who
worked for the court from 1773, however, other skilled craftsmen such as Francesco Tanadei, Giuseppe Marchino,
Francesco Bolgie and Bartolomeo Manghetti, working around Bonzanigo, were also commissioned to provide work for
Stupinigi, Moncalieri, Venaria, Rivoli and most of all for the Palazzo Reale in the centre of Turin.
Bartolomeo Manghetti is known to have been an exceptional carver, originating from the Foresto municipality of
Lombardy before moving to Turin, and was awarded maestro minusière from the Universita dei Minusièri on the 6th of
July, 1786.
A pair of related Italian white painted and parcel-gilt corner consoles with comparable spiral twist carving was sold,
Sotheby's London, A Piedmontese Villa, the Contents of Vigna Corte di Bonvicino Moncalieri, Turin, November 17,
2009, lot 40, and a suite of Italian ivory painted furniture by Bartolomeo Manghetti, lot 27.
New York | 19 Apr 2012, 10:00 AM | N08891
LOT 72
A LOUIS XV ORMOLU AND MEISSEN PORCELAIN CHARIOT GROUP
MID-18TH CENTURY
height 11 3/4 in.; length 9 1/2 in.; width 6 1/4 in.
30 cm; 24.5 cm; 16 cm
PROVENANCE
Christie's London, June 21, 2000, lot 1
New York | 19 Apr 2012, 10:00 AM | N08891
LOT 73
A PARIS PORCELAIN RECTANGULAR PLAQUE
1832
by Amélie Le Duc, signed and dated, after S. Gérard, with a giltwood frame. 2 pieces.
58 cm; 65.5 cm

New York | 19 Apr 2012, 10:00 AM | N08891
LOT 74
A LOUIS XV CARVED GILTWOOD FRAME
DATED 1733, REDUCED IN SIZE
with the arms of the garde des sceaux du roi, containing a modern copy of the Rokeby
Venus.
92 cm; 114.5 cm

PROVENANCE
Germain-Louis Chauvelin (1685-1762), garde des sceaux du roi between 1727 and 1737
New York | 19 Apr 2012, 10:00 AM | N08891
LOT 75
A LOUIS XVI CARVED GILTWOOD FIRE SCREEN
CIRCA 1770
upholstered with embroidered silk taffeta with the ground worked in wrapped metal thread,
probably French or Italian and possibly from a chasuble, circa 1700.
126 cm; 62 cm

New York | 19 Apr 2012, 10:00 AM | N08891
LOT 76
A LOUIS XV CARVED GILTWOOD SMALL BERGÈRE
CIRCA 1750
height 28 1/2 in.
72.5 cm

New York | 19 Apr 2012, 10:00 AM | N08891
LOT 77
A PAIR OF LOUIS XVI CARVED GILTWOOD CHAIRS
CIRCA 1780, STAMPED L. DELANOIS.
Louis Delanois (1731-1792), maître in 1761
height 34 1/4 in.
87 cm

New York | 19 Apr 2012, 10:00 AM | N08891
LOT 78
A LOUIS XVI STYLE GILT-BRONZE GUÉRIDON
height 31 in.; diameter 15 1/2 in.
79 cm; 59.5 cm

New York | 19 Apr 2012, 10:00 AM | N08891
LOT 79
A LOUIS XVI STYLE GILT BRONZE GUÉRIDON
LATE 19TH CENTURY
height 29 1/2 in.; diameter 18 1/2 in.
75 cm; 47 cm

Lot Sold: 3,438 USD
New York | 19 Apr 2012, 10:00 AM | N08891
LOT 80
AN ITALIAN ROCOCO BRASS-MOUNTED AND INLAID KINGWOOD
MINIATURE COMMODE
NAPLES, 18TH CENTURY
the later-fitted interior now with 18th century French porcelain vessels.
51 cm; 56.5 cm; 36 cm

Lot Sold: 4,375 USD
PROVENANCE
Sotheby's New York, May 25, 2000, lot 299
New York | 19 Apr 2012, 10:00 AM | N08891
LOT 81
A LOUIS XV ORMOLU-MOUNTED MAHOGANY SIDE TABLE
MID-18TH CENTURY, REMOUNTED
56.5 cm; 47 cm; 36 cm

New York | 19 Apr 2012, 10:00 AM | N08891
LOT 82
A PAIR OF LOUIS XVI ORMOLU-MOUNTED MEISSEN PORCELAIN VASES
THE PORCELAIN 18TH CENTURY, THE ORMOLU CIRCA 1775

Probably later-decorated.
height 17 1/4 in.
44 cm

New York | 19 Apr 2012, 10:00 AM | N08891
LOT 83
A LOUIS XVI ORMOLU MANTEL CLOCK
CIRCA 1780, THE DIAL SIGNED VOISIN A PARIS
58.5 cm; 53 cm; 18.5 cm

New York | 19 Apr 2012, 10:00 AM | N08891
LOT 84
A PAIR OF LOUIS XVI ORMOLU CHENETS
CIRCA 1775
height 17 3/4 in.
45.5 cm
PROVENANCE
Drouot, Paris, December 5, 1985, lot 99
Christie's Monaco, Collection of Karl Lagerfeld, April 29, 2000, lot 45
LITERATURE
G. Wannenes, Les bronzes ornementaux et les objets montés, Milan, 2004, illustrated, p. 286
CATALOGUE NOTE
The first recorded example of this model was delivered by Claude-Jean Pitoin in 1777 for 1400 livres for Fontanieu,
independant général du Garde-Meuble de la Couronne. The model was repeated in 1779 for Marie-Antoinette's
cabinet for 2800 livres. A third pair was provided in 1780 for the duc d'Angoulême's bedroom at Versailles at a cost of
1800 livres.
The model may have been designed by Pitoin, in which case it probably would have been the father, Quentin-Claude.
Alternatively, Jacques Gondoin, dessinateur du mobilier de la Couronne, may have been responsible for the design.
He owned in 1795 "un feu en deux parties, grand recouvrement représentant lyre et pot a feu de cuivre doré d'or
moulu."
In 1783, François Rémond supplied two chenets of this model. Other examples in public collections include a pair in
the Louvre (D. Alcouffe et al., Gilt bronzes in the Louvre, Dijon, 2004, p. 192, no. 97), and a pair at Versailles (H.
Ottomeyer/P. Pröschel et al., Vergoldete Bronzen, Munich, 1986, Vol. 1, p. 273, fig. 4.11.3). A further example was
sold from the Bardac Collection, Galerie Georges Petit, Paris, December 9, 1927, lot 84.
New York | 19 Apr 2012, 10:00 AM | N08891
LOT 85
A PAIR OF LOUIS XVI ORMOLU FOUR-BRANCH WALL LIGHTS, ATTRIBUTED
TO PIERRE GOUTHIÈRE, AFTER A DESIGN BY FRANÇOIS-JOSEPH
BÉLANGER
CIRCA 1780
52.5 cm; 32 cm
PROVENANCE
Drouot, Paris, March 14, 1983, lot 123
CATALOGUE NOTE
The model for the these wall-lights was designed before 1781 by François-Joseph Bélanger for the salon arabesque
of the duchesse de Mazarin's hotel particulier, quai Malaquais. The celebrated doreur Pierre Gouthière (1732-1813),
who had been working for the duchesse since 1777, provided a detailed bill for his work in the salon arabesque. For
these wall-lights, he provided clay models as well as the wax models that he used to cast the wall-lights. He charged
2,600 livres for the gilding and chasing. The back plate was finished in blue silver. The duchesse died in 1781 and the
wall-lights were sold at auction. Estimated at 300 livres, they were purchased by the duc de Valentois for 800
livres. Gouthière and the work he carried out for the duchesse are discussed by C. Baulez in H. Ottomeyer/P.
Pröschel, et al. Vergoldete Bronzen, Munich, 1986, Vol II, pp. 582-584).
Other examples of this model include a pair in the J. Paul Getty Museum, Malibu (see G. Wilson, Summary Catalogue
, Los Angeles, 2001, p. 87, no. 175), a pair of from the Bagues Collection (Connaissance des Arts, Le XVIIIème siècle
français, Paris 1958, p. 127, fig. 1), and a pair from the collection of the prince de Beauvau, sold Paris, April 21, 1865,
lot 25. A similar pair in the Gulbenkian Collection, Lisbon, is illustrated Calouste Gulbenkian Museum, Catalogue,
Lisbon, 1982, p. 283, fig. 574.
New York | 19 Apr 2012, 10:00 AM | N08891
LOT 86
A LOUIS XV CARVED GILTWOOD MIRROR
CIRCA 1750
with ink inscription on the inside back of the mirror: Coulas le fils MD Miroitier a Mon .. Le
27e 8bre 1750.
height 111 in.; width 54 1/2 in.
282 cm; 138.5 cm

New York | 19 Apr 2012, 10:00 AM | N08891
LOT 87
A LOUIS XVI ORMOLU-MOUNTED MAHOGANY TABLE EN CHIFFONNIÈRE
CIRCA 1775, STAMPED D.L. ANCELLET
Denis Louis Ancellet (d.1823), maître in 1766
79.5 cm; 49.5 cm; 40 cm

New York | 19 Apr 2012, 10:00 AM | N08891
LOT 88
A LOUIS XV/XVI TRANSITIONAL ORMOLU-MOUNTED TULIPWOOD,
FRUITWOOD AND MARQUETRY TABLE EN CHIFFONNIÈRE
THIRD QUARTER 18TH CENTURY, STAMPED ROUSSEL JME
Pierre Roussel (1723-1782), maître in 1745
69.5 cm; 36 cm; 27.5 cm

New York | 19 Apr 2012, 10:00 AM | N08891
LOT 89
A LOUIS XVI STYLE ORMOLU-MOUNTED KINGWOOD, FRUITWOOD AND
PARQUETRY TWO-TIER GUÉRIDON
19TH CENTURY, THE TOP POSSIBLY EARLIER
75 cm; 32 cm

New York | 19 Apr 2012, 10:00 AM | N08891
LOT 90
A PAIR OF LOUIS XVI STYLE CARVED WALNUT CHAIRS
LAST QUARTER 19TH CENTURY
height 35 in.
89 cm

Lot Sold: 5,625 USD
New York | 19 Apr 2012, 10:00 AM | N08891
LOT 91
A LOUIS XV STYLE ORMOLU-MOUNTED AND TULIPWOOD, AMARANTH AND
MARQUETRY TABLE À ÉCRIRE
EARLY 20TH CENTURY
66 cm; 62 cm; 37 cm

New York | 19 Apr 2012, 10:00 AM | N08891
LOT 92
A LOUIS XV CARVED GILTWOOD SMALL CANAPÉ EN CORBEILLE
CIRCA 1760
96.5 cm; 122 cm

CATALOGUE NOTE
For an almost identical painted canapé en corbeille by Louis Delanois (1731-1792, maître in 1761), see Pierre
Kjellberg, Le mobilier français du XVIIIe siècle, Paris, 2002, p. 265, fig. c.
New York | 19 Apr 2012, 10:00 AM | N08891
LOT 93
A LOUIS XV ORMOLU-MOUNTED AMARANTH TABLE À ÉCRIRE
CIRCA 1750, STAMPED TWICE&NBSP;HANSEN JME
Hubert Hansen (d.1756), maître in 1747
69 cm; 44 cm; 33 cm

New York | 19 Apr 2012, 10:00 AM | N08891
LOT 94
A LOUIS XVI MAHOGANY TABLE D'AQUARELLISTE
LATE 18TH CENTURY
76 cm; 48.5 cm; 43.5 cm

Lot Sold: 6,875 USD
New York | 19 Apr 2012, 10:00 AM | N08891
LOT 95
A LOUIS XV KINGWOOD PARQUETRY TABLE À OUVRAGE
MID-18TH CENTURY, STAMPED JME
72.5 cm; 44 cm; 33 cm

New York | 19 Apr 2012, 10:00 AM | N08891
LOT 96
CIRCA 1765
75 cm; 33 cm

New York | 19 Apr 2012, 10:00 AM | N08891
LOT 97
A SET OF FOUR LOUIS XV BLUE AND GREEN-PAINTED AND CARVED
FAUTEUILS
CIRCA 1750, STAMPED P. F. CORBISIER
Pierre-François-Joseph Corbisier (1737-1809), maître in 1768
height 37 in.
94 cm

PROVENANCE
Ader Tajan, Geneva, April 28, 1992
New York | 19 Apr 2012, 10:00 AM | N08891
LOT 98
A PAIR OF LOUIS XV BLUE-PAINTED AND CARVED CANAPÉS EN
CORBEILLE
CIRCA 1750, ONE STAMPED P. F. CORBISIER
en suite with the previous lot and now together with a modern ottoman. 3 pieces.
Pierre-François-Joseph Corbisier (1737-1809), maître in 1768
height 42 1/2 in.; length 75 in.
108 cm; 190.5 cm

New York | 19 Apr 2012, 10:00 AM | N08891
LOT 99
AN ITALIAN LATE BAROQUE GLASS AND CUT GLASS-MOUNTED GILT-IRON
TWENTY-THREE-LIGHT CHANDELIER
TURIN, FIRST HALF 18TH CENTURY&NBSP;
211 cm; 145 cm
ESTIMATE 100,000-150,000 USD
CATALOGUE NOTE
Magnificent chandeliers such as the present example were very popular in Genoa and Piedmont in the 18th century
and were often surmounted by a crown. There are numerous examples of these in Royal Piedmontese residences.
Chandeliers of comparable design were already fashionable in the 17th century and can be seen in a print of an
interior in The Hague in 1660, illustrated by Peter Thornton, Seventeenth Century Interior Decoration in England,
France and Holland, U.K., 1978, pl. 257, p. 270.
New York | 19 Apr 2012, 10:00 AM | N08891
LOT 100
A PAIR OF SWEDISH NEOCLASSICAL ORMOLU MOUNTED PORPHYRY
(BLYBERG) VASES AND COVERS
CIRCA 1830
height 21 1/2 in; width 8 1/2 in.
55 cm; 22 cm

CATALOGUE NOTE
These elegant vases relate to C.F. Sundvall's designs for porphyry vases, which were executed around 1788-1790,
and to those by the Court ciseleur Fredrik Ludvig Rung of 1799 (H. Sundblom, Porfyr, Stockholm, 1985, p. 21).
Various related porphyry items were intended as gifts by the King of Sweden, Maréchal Bernadotte, who reigned as
Karl XIV Johann from 1818 to 1844, and whose family owned the porphyry mines. The King presented numerous
porphyry objets to Napoleon's maréchaux and various other French dignitaries. A large number of these still remain in
France, such as the vase given to Maréchal Gérard, which was offered at Christie's Monaco, July 2, 1993, lot 235.
Porphyry was first discovered in Sweden at Älvdalen in 1731 but was not commercially exploited until after 1788 by
Eric Hagström under the direction of Nils Adam Bielke. The works were purchased by Bernadotte in 1818 and stayed
in Royal ownership until 1856. Bernadotte used the production of primarily Empire objects in porphyry and related
granite to disseminate the Empire style that he had brought from France. Production largely ceased following the
disastrous fire in 1869.
New York | 19 Apr 2012, 10:00 AM | N08891
LOT 101
A PAIR OF LOUIS XVI STYLE ORMOLU-MOUNTED CHINESE BLUE
CRACKLED GLAZE VASES, NOW MOUNTED AS LAMPS
LATE 19TH CENTURY

height of object 14 in.; height with fittings 29 in.
36 cm; 74 cm

Lot Sold: 8,125 USD
CATALOGUE NOTE
These lamps are after a pair of Louis XVI ormolu-mounted celadon vases preserved in the collection of the Louvre,
see Lunsingh Scheurleer, Chinesisches und japanisches Porzellan in europäischen Fassungen, Braunschweig, 1980,
p. 349 (illustrated).
New York | 19 Apr 2012, 10:00 AM | N08891
LOT 102
A LOUIS XV STYLE ORMOLU-MOUNTED CARVED CELADON GLAZED
PORCELAIN VASE
height 14 1/2 in.
37 cm

New York | 19 Apr 2012, 10:00 AM | N08891
LOT 103
A PAIR OF LOUIS XVI STYLE GILT BRONZE-MOUNTED GRAY MARBLE
BRÛLES-PARFUM, NOW MOUNTED AS LAMPS
height of object 14 in.; height with fittings 27 3/4 in.
36 cm; 70.5 cm

New York | 19 Apr 2012, 10:00 AM | N08891
LOT 104
A LOUIS XIV STYLE BRASS CISTERN
48.5 cm; 70 cm

New York | 19 Apr 2012, 10:00 AM | N08891
LOT 105
A PAIR OF LOUIS XVI STYLE ORMOLU-MOUNTED GREEN MARBLE VASES
CIRCA 1900
height 20 in.
51 cm

New York | 19 Apr 2012, 10:00 AM | N08891
LOT 106
A RARE LOUIS XVI ORMOLU MANTEL CLOCK
CIRCA 1780, THE DIAL SIGNED LEPAUTE HGER. DU ROI
on a later gilt bronze-mounted ebony base.
49.5 cm; 34 cm; 17.5 cm

PROVENANCE
Edouard Larcarde, Paris, April 2, 1957, lot 67
CATALOGUE NOTE
The only other known example of this model was delivered in 1799 to the Comte d'Artois for the Salon at the Pavillon
de Bagatelle and later moved to the Palais du Temple. Placed on the chimneypiece, it is precisely described by Jean-
Baptiste Lepaute in a mémoire and cost 5,000 livres. The only difference in the ormolu between the two clocks is the
laurel garland on the front of the present clock which replaced the garland of flowers and fruit on the Artois clock. The
Artois clock was seized in 1792 from the Temple and sent to the Maison L'Infantado. In 1807 it was given by
Napoleon to Regis de Cambaceres Archichancelier of the Empire.
New York | 19 Apr 2012, 10:00 AM | N08891
LOT 107
A REPOUSSÉ GILT METAL FIRE SCREEN
18TH CENTURY, PROBABLY ORIGINALLY FROM A BALCONY
93 cm; 102 cm

New York | 19 Apr 2012, 10:00 AM | N08891
LOT 108
CIRCA 1775
height 18 in.
46 cm

New York | 19 Apr 2012, 10:00 AM | N08891
LOT 109
FRUITWOOD AND MARQUETRY BONHEUR DU JOUR
CIRCA 1770-75, STAMPED TWICE RVLC
Roger Vandercruse dit Lacroix (1727-1799), maître in 1755
86.5 cm; 65 cm; 39.5 cm

CATALOGUE NOTE
The prominent ormolu meander of this bonheur du jour appears on a number of small occasional pieces by RVLC
including a bonheur du jour illustrated Pierre Kjellberg, Le mobilier français du XVIIIe siècle, Paris, 2002, p. 796, fig.
b. For a bonheur du jour from the Perrin Collection, Paris, with an identically arranged "mirrored" meander mount, see
Clarisse Roinet, Roger Vandercruse dit La Croix, Paris, 2000, p. 65.
New York | 19 Apr 2012, 10:00 AM | N08891
LOT 110
A PAIR OF GERMAN NEOCLASSICAL WALNUT, FRUITWOOD AND
PARQUETRY BOXES ON STANDS
LATE 18TH CENTURY, THE STANDS LATER
75 cm; 44 cm; 31.5 cm

New York | 19 Apr 2012, 10:00 AM | N08891
LOT 111
AN ITALIAN ROCOCO TORTOISESHELL AND BRASS-INLAID EBONY AND
PARCEL-GILT AND EBONIZED SMALL CENTER TABLE
PIEDMONTESE, THE BASE SECOND QUARTER 18TH CENTURY, THE TOP

19TH CENTURY
height 28 1/2 in.; width 23 1/2 in.l 19 1/4 in.
72.5 cm; 60 cm; 49 cm

CATALOGUE NOTE
Comparative Literature:
R. Antonetto, Minusieri ed Ebanisti del Piemonte, Chieri, 1985, cat. 246, p. 180.
V. Viale, Mostra del Barocco Piemontese, Vol. III, Turin, 1963, where examples of these rare Piedmontese tables are
illustrated, in particular see pls. 86 and 89/a.
New York | 19 Apr 2012, 10:00 AM | N08891
LOT 112
CIRCA 1765, STAMPED J.L. COSSON JME
Jacques Laurent Cosson (1737-1812), maître in 1765
77 cm; 35 cm

New York | 19 Apr 2012, 10:00 AM | N08891
LOT 113
A PAIR OF RÉGENCE CARVED GILTWOOD FOOTSTOOLS
CIRCA 1720
41 cm; 51 cm; 46 cm

New York | 19 Apr 2012, 10:00 AM | N08891
LOT 114
A LOUIS XV CARVED GILTWOOD TABOURET
MID-18TH CENTURY
34.5 cm; 79 cm; 55.5 cm

Lot Sold: 5,000 USD
New York | 19 Apr 2012, 10:00 AM | N08891
LOT 115
CIRCA 1775
upholstered à châssis with polychrome silk embroidered panel with the ground worked in
muted shades of silk and with the initials JMT at center, probably French, circa 1775.
100.5 cm; 63.5 cm

Lot Sold: 2,000 USD
New York | 19 Apr 2012, 10:00 AM | N08891
LOT 116
A LOUIS XV/XVI TRANSITIONAL ORMOLU-MOUNTED CITRONNIER, STAINED
SYCAMORE AND MARQUETRY TABLE EN CHIFFONNIÈRE
CIRCA 1770, STAMPED RVLC JME
72.5 cm; 47 cm; 36 cm

CATALOGUE NOTE
Roger Vandercruse (1728-1799) was one of the most respected Parisian ébénistes of his day and was a member of
an important furniture-making dynasty. His production was prolific and covered a wide variety of furniture including
case pieces; he is, however, particularly celebrated for his production of small tables.
The tables produced by RVLC (as he is popularly referred to) are distinctive, and incorporate motifs which he used
repeatedly such as the parquetry enclosing swirling acanthus on the present table. For an oval table veneered with an
identical roundel against a striped background and attributed to RVLC, see Christie's London, July 7, 2011, lot 507.
The same acanthus motif also appears on a number of bonheurs du jour; one probably purchased by Maria
Feodorovna during her trip to France in 1782, see Clarisse Roinet, Roger Vandercruse dit La Croix, Paris, 2000, p.
51; on the platform stretcher of another in the Kraemer collection, see Connaissance des Arts, "French
Cabinetmakers of the Eighteenth Century," 1963, p. 169, fig. 2; and on the door, top and stretcher of a third one in the
Wrightsman Collection, see F.J.B. Watson, The Wrightsman Collection, Vol. I, New York, 1966, pp. 180-181. Two
small tables of similar shape are illustrated Pierre Kjellberg, Le mobilier français du XVIIIe siècle, Paris, 2002, p. 788,
figs. b & c. Along with this table, the two former were made by RVLC using large amounts of citronnier. He is known to
be one of the first Parisian cabinet makers to veneer his pieces extensively with this light wood and to juxtapose its
light color against the darker hues of other, often tinted, secondary woods in his inlays; a method that would become
popular with main-stream ébénistes only in the 1820s and 30s.
New York | 19 Apr 2012, 10:00 AM | N08891
LOT 117
A LOUIS XVI ORMOLU-MOUNTED EBONY ENCRIER
CIRCA 1770
9 cm; 40 cm; 27 cm

Lot Sold: 6,000 USD
New York | 19 Apr 2012, 10:00 AM | N08891
LOT 118
A PAIR OF LOUIS XIV STYLE ORMOLU-MOUNTED EBONIZED PEDESTALS
124.5 cm; 55 cm; 55 cm

New York | 19 Apr 2012, 10:00 AM | N08891
LOT 119
A LOUIS XV/XVI TRANSITIONAL PARCEL-GILT, GREEN AND CREAM-
PAINTED AND CARVED FAUTEUIL
PROBABLY SOUTHWEST GERMANY, CIRCA 1765
height 39 1/2 in.
100.5 cm

New York | 19 Apr 2012, 10:00 AM | N08891
LOT 120
A LOUIS XVI STYLE GRAY-PAINTED AND CARVED DAY BED
20TH CENTURY
height 33 1/2 in.; length 75 in.; width 31 1/2 in.
85.5 cm; 190.5 cm; 80 cm

Lot Sold: 3,125 USD
New York | 19 Apr 2012, 10:00 AM | N08891
LOT 121
A LOUIS XVI GREY-PAINTED AND CANED COIFFEUSE
LATE 18TH CENTURY
height 30 1/4 in.
77 cm

New York | 19 Apr 2012, 10:00 AM | N08891
LOT 122
A PAIR OF LOUIS XVI STYLE WHITE AND GREEN-PAINTED AND CARVED
SIDE TABLES
LATE 19TH/EARLY 20TH CENTURY
60 cm; 41 cm

New York | 19 Apr 2012, 10:00 AM | N08891
LOT 123
A LOUIS XVI GREY-PAINTED AND CARVED CANAPÉ
CIRCA 1780, STAMPED THREE TIMES&NBSP;J. NADAL L'AINE
Jean-René Nadal (b.1733), maître in 1756
83.5 cm; 137.5 cm

New York | 19 Apr 2012, 10:00 AM | N08891
LOT 124
AN ASSEMBLED SET OF THREE LOUIS XV ORMOLU-MOUNTED CHINESE
AND JAPANESE PORCELAIN 'POT-POURRI' VASES
CIRCA 1735, THE PORCELAIN 18TH CENTURY
height 10 in.
25.5 cm

PROVENANCE
Poulain LeFur, Paris
LITERATURE
Pierre Kjellberg, Objets Montés, Paris, 2000, p. 189
New York | 19 Apr 2012, 10:00 AM | N08891
LOT 125
A RARE LOUIS XVI ORMOLU-MOUNTED AND PARCEL-GILT EBONY BUREAU
PLAT
CIRCA 1765-70, STAMPED J. F. LELEU AND DUHAMEL
stamped twice Vente Paderewski Riond-Bosson, 1954.
Jean-François Leleu (1729-1807), maître in 1764
François Duhamel (1723-1801), maître in 1750
81 cm; 194 cm; 97.5 cm
ESTIMATE 300,000-500,000 USD

PROVENANCE
Possibly Ernestine de Castellane (1788-1850), duchesse d'Otrante,and by descent to:
Jacques-Henri-Léonor, comte Le Marois (1863-1920), who sold the Chalet de Riond-Bosson furnished in 1897 to:
Ignacy Jan Paderewsky, sold from his collection, Chalet de Riond Bosson, Morges (Switzerland), November 11, 1954,
lot 565
Galerie Ramsey, Paris
Sotheby's, Collection of Charles de Bestegui, Château de Groussay, sold on the premises, June 2-6, 1999, lot 290
CATALOGUE NOTE
Ignacy Jan Paderewski (1860-1941), the celebrated pianist, composer and second Prime Minister of the Republic of
Poland, first rented the villa in Morges in 1896 which he purchased fully furnished in 1897. It would appear that the
furnishings of the Villa de Riond-Bosson had stayed largely intact under the ownership of descendants of Ernestine de
Castellane. The latter (1788-1850) was the widow of Joseph Fouché (1759-1820) the duc d'Otrante, Napoleon's chief
of police. The duchesse, who had decided to live in Switerland, purchased the Chalet of Riond-Bosson. When she
died, childless in 1850, the house passed to her nephew, Adélaide-Louis-Reimbord, marquis d'Estourmel, and two
further generations of that family before passing to the comte Le Marois in 1879. As this house had never been the
prinicipal residence of any of her descendants and the 1879 inventory describes the house as being fully furnished, it
is possible that this desk belonged to the duchesse d'Otrante.
Although stamped by the celebrated ébéniste Jean-François Leleu (1729-1807), this piece has little in common with
this maker's work. This piece dates from about the same time Leleu received his maitrise in 1764 and it is more likely
that he stamped it either as a restorer or as a marchand maybe ten or twenty years after its production. It has been
suggested that it is closer to the known work of the ébéniste René Dubois (1737-1799). In particular, it is reminiscent
of the highly unusual green lacquer bureau plat, circa 1765, by Dubois with a distinguished early Russian provenance,
possibly Catherine II (1729-1796), Paul I (1754-1801) and Prince Kurakin (1752-1818). This table has been linked to
designs by the architect Charles De Wailly published in 1760 (see S. Eriksen, Early Neoclassicism in France, London,
1974, pl. 329 and 330). Plate 330 incorporates figures of sirens similar to those on the Wallace table. Plate 329
shows the very unusual feature of a curved vase to the side sections similar to those on the present desk.
New York | 19 Apr 2012, 10:00 AM | N08891
LOT 126
A PAIR OF LOUIS XV STYLE GILT BRONZE AND SAMSON PORCELAIN
COMMEDIA DELL' ARTE CANDLESTICK GROUPS MOUNTED AS LAMPS
LATE 19TH CENTURY
height of object 12 in.
30.5 cm

Lot Sold: 6,250 USD
New York | 19 Apr 2012, 10:00 AM | N08891
LOT 127
A PAIR OF LOUIS XV STYLE ORMOLU-MOUNTED CHINESE PORCELAIN
VASES
THE GILT BRONZE 19TH CENTURY, THE PORCELAIN 18TH CENTURY,
ENAMELS ADDED&NBSP;LATER
height 13 1/4 in.
34 cm

Lot Sold: 8,125 USD
New York | 19 Apr 2012, 10:00 AM | N08891
LOT 128
AN IMPORTANT RÉGENCE ORMOLU-MOUNTED, BRASS AND
TORTOISESHELL-INLAID BUREAU PLAT, ATTRIBUTED TO BVRB I
CIRCA 1710-1715
80 cm; 119.5 cm; 68 cm
ESTIMATE 300,000-500,000 USD

CATALOGUE NOTE
A virtually identical Boulle marquetry top may be seen on a bureau in the Victoria and Albert Museum, London (inv.
372-1901). This bureau is part of the "Louis XIV group" identified by Jean-Nérée Ronfort and Jean-Dominique
Augarde in their article "Le Mâitre du bureau de l'Electeur," L'Estampille, January 1991, pp. 42-74 and is illustrated p.
58. The authors propose that this group may be attributed to "Le Mâitre de l'Electeur," who has been identified as
Bernard Ier van Risamburgh (c.1660-1738).
The aforementioned celebrated bureau made for Elector Maximilien II Emmanuel of Bavaria, delivered after 1715, is
now in the Louvre (Ronfort, op. cit., p. 49). It belongs to the "Regence group" discussed by Messrs. Ronfort and
Augarde and attributed to the same maker. This Regence group is characterised by sinuous forms, the use of brown
tortoiseshell and tightly scrolled brass inlay. These include a commode c. 1719 delivered for Louis-Charles de
Machault, a bureau plat (F. 59) in the Wallace Collection, and a bureau in the Musée des Arts Decoratifs, Paris
(Renfort, op. cit., pp. 44 and 47).
The Saperstein bureau combines elements from each of these groups reinforcing this attribution to this maker and
suggesting a date which represents a transitional phase between the two groups.
New York | 19 Apr 2012, 10:00 AM | N08891
LOT 129
A LOUIS XVI CARVED GILTWOOD CANAPÉ EN CORBEILLE
CIRCA 1775, STAMPED G. IACOB
Georges Jacob (1739-1814), maître in 1765
height 46 1/4 in.; length 55 1/2 in.
117.5 cm; 141 cm

PROVENANCE
Alejandra de Casteja, Sotheby's Monaco, May 3, 1977, lot 7
EXHIBITED
Galerie Georges Bac, Le cadre et le bois doré au travers des siècles, 1992, p. 103
CATALOGUE NOTE
A basically identical canapé attributed to Jacob, almost certainly the pair to this lot, was sold Christie's New York, April
26, 1990, lot 160A. A bed with similarly carved crest and legs is in the Musée Nissim de Camondo; see
Handbook, Musée Nissim de Camondo, no. 644, p. 111.
New York | 19 Apr 2012, 10:00 AM | N08891
LOT 130
A ROYAL LOUIS XV ORMOLU-MOUNTED KINGWOOD AND PARQUETRY
TABLE À ÉCRIRE
CIRCA 1755
with inventory marks in black ink: M.No.164, No. 2011 and Du. No. 2011.
69 cm; 77 cm; 43.5 cm
ESTIMATE 120,000-180,000 USD

PROVENANCE
Delivered by Gilles Joubert, ébéniste du roi, on August 22, 1755 for Madame Adélaïde's apartment at the Château de
Choisy
Subsequently sent to the Château de Marly by 1775 until sold there in a revolutionary sale on October 6, 1793
LITERATURE
Alexandre Pradère, French Furniture Makers: The Art of the Ébéniste from Louis XIV to the Revolution, London, 1989,
p. 216, no. 13
CATALOGUE NOTE
This table was delivered by Gilles Joubert to Madame Adélaïde at the Château de Choisy, a popular retreat of the
royal family near Paris. The table was described as "2011: une table à écrire de bois violet et rose à compartiments en
mosaique ornée de chutes de festons et pieds de bronze doré d'or moulu. Ayant sur le côté un tiroir fermant à clef
garnye d'encrier, poudrier et boite à éponge de cuivre blanchi . Longue de 28 pouces [76 cm] sur 18 pouces [48 cm]
de large et 26 pouces [70 cm] de hauteur." The table is known to have been transferred by the Garde Meuble to the
Château de Marly by 1775 and it was subsequently sold in the sales of royal property following the revolution.
MADAME ADÉLAÏDE (1732-1800)
Born in Versailles in 1732, Madame Adélaïde was the sixth child and fourth daughter of Louis XV and Maria
Leszczyska. As daughter of the King, she was referred to as Fille de France and also as Madame Quatrième until
1733, when her "title" changed to Madame Troisième following the death of her older sister. She was much loved by
her father whom she often accompanied on his outings. Due to the lack of eligible royal suitors during her
adolescence she never married. Along with her siblings, she was much opposed to Louis XV's relationships with
Mesdames Pompadour and du Barry. Following the Parisian women's march on Versailles on October 6, 1789 she
moved to the Château de Bellevue where she remained until fleeing France for Italy in 1791. After spending time in
Rome, Naples and Corfu, she died in exile in Trieste in 1800.
GILLES JOUBERT (1689-1775)
Joubert was elected master sometime during the regency of Philippe d'Orléans. In 1748 he was employed by the
Garde Meuble and ten years later became ébéniste ordinaire de Garde Meuble de la Couronne. He was subsequently
made ébéniste du roi in 1763 on the death of Oeben. Between 1748 and 1777 he delivered nearly 4000 pieces of
furniture, a demand which far exceeded the capacity of his workshop. However, because the furniture which Joubert
supplied to the Crown can be very similar, sharing the same or similar form, mounts and marquetry, even when pieces
are stamped by different ébénistes, it seems likely that Joubert retained considerable control over the design of work
he subcontracted.
New York | 19 Apr 2012, 10:00 AM | N08891
LOT 131
AMARANTH, FRUITWOOD AND MARQUETRY BONHEUR DU JOUR
CIRCA 1775, STAMPED TWICE&NBSP;C. TOPINO JME
88 cm; 60.5 cm; 38.5 cm
PROVENANCE
Sotheby's London, December 13, 2000, lot 133
LITERATURE
Sylvain Barbier Sainte Marie, Charles Topino, Paris, 2005, p. 67
CATALOGUE NOTE
This type of bonheur-du-jour was one of the most enduringly popular designs of Charles Topino and seemingly he had
the monopoly of this design. The chinoiserie still-lives depicting cups, saucers and utensils derive from motifs that
decorated Chinese Coromandel lacquer screens. These seem to have been particularly popular between 1770 and
1775. The present bonheur-du-jour is identical to a model in the Musée des Arts Décoratifs, Paris (see 'Les Ebénistes
du XVIIIe siècle Français' in Connaissance des Arts, Paris, 1963, p. 269, fig. 2) and one illustrated by Pierre Kjellberg,
Le Mobilier Français du XVIII Siècle, Paris, 1998, p. 842, fig.B. For another example see C. Parker, Paris Furniture,
Newport, 1956, fig. 76, which sold Parke Bernet, The Collection of Mrs. Henry Walters, April 26, 1941, lot 687 and
subsequently sold again Sotheby's New York, The Garbische Collection, May 17, 1980, lot 318. A pair of bonheurs-
du-jour were sold Sotheby's Monaco, June 23, 1985, lot 781 and two sold Sotheby's New York, October 28, 1995, lots
125 and 126. And finally, one was sold Christie's London, S. Michael Sobell Collection, June 23, 1994, lot 159.
New York | 19 Apr 2012, 10:00 AM | N08891
LOT 132
A LOUIS XVI TULIPWOOD, FRUITWOOD AND MARQUETRY TABLE À ÉCRIRE,
ATTRIBUTED TO CHARLES TOPINO
CIRCA 1775
73 cm; 61 cm; 44.5 cm

New York | 19 Apr 2012, 10:00 AM | N08891
LOT 133
A LOUIS XVI ORMOLU-MOUNTED MAHOGANY DRESSING TABLE
CIRCA 1780, STAMPED TWICE J.H. RIESENER, PARTIALLY REVENEERED
Jean-Henri Riesener (1734-1806), maître in 1768
76.5 cm; 89 cm; 49.5 cm
PROVENANCE
Christie's London, Espirito Santo Collection, December 12, 1996, lot 19
Christie's London, December 14, 2000, lot 196
CATALOGUE NOTE
This dressing table, which dates from Riesener's late period, is an unusually richly mounted variant of the model.
Riesener is known to have delivered a number of very similar tables (games, dressing and writing tables) to the
Garde Meuble in the late 1770s and the 1780s. These tables were most often used in the quarters of the royal family
and members of its closest circle, including Robinet, commis au secrétariat d'Etat de la Maison du Roi to whom, in
1783, a mahogany desk of this shape was delivered; see Daniel Alcouffe, Furniture Collections in the Louvre, Vol. I.,
Dijon, 1992, p. 276. An inventory dating from 1790-1791, describes this table as un bureau de bois d'acajou encastré
de maroquin noir, 3 tiroirs de face ornés de bronze, anneaux, sabots et socle en couleur d'or molou. Tables of this
model, all somberly mounted with minimal ormolu and executed with large sheets of mahogany veneer to emphasize
the natural beauty of the wood, include a dressing table sold Christie's Monaco, June 15, 1997, lot 171, a games table
sold Sotheby's New York, May 21, 1985, lot 168 and another dressing table attributed to Riesener at the Château de
Versailles; see Pierre Arizzoli-Clémentel, Versailles, Furniture of the Royal Palace, Vol. 2, Dijon, 2002, pp. 156-157.
Dressing tables of this design by Riesener but with richer ormolu mounts, such as this lot, are much rarer and include
one delivered to Marie Antoinette at the Tuileries in 1784 at a cost of 1560 livres; see Pierre Verlet, Le Mobilier Royal
Français, Vol. II, Cahors, 1990, pp. 93-95.
New York | 19 Apr 2012, 10:00 AM | N08891
LOT 134
A LOUIS XVI ORMOLU-MOUNTED, PEWTER-INLAID EBONY, EBONIZED AND
MAHOGANY THERMOMETER AND BAROMETER
THE BAROMETER DATED 1780 AND STAMPED M. CARLIN, THE
THERMOMETER DATED 1781,&NBSP;BOTH&NBSP;SIGNED&NBSP;MAGNY
Martin Carlin (1730-1785), maître in 1766
119.5 cm; 22.5 cm
CATALOGUE NOTE
The inclusion of English scales and words on this lot appears to be an indication of the capacity of the French, or at
least of the maker of these particular pieces, to manufacture scientific instruments at a time when competition from
Britain was severe and when scientific instruments from Britain were imported into France in massive quantities.
ALEXIS MAGNY (1712-1807)
A protégé of the Duc de Chaulnes, Alexis Magny was one of the most versatile and respected scientists and
mechanical engineers of the Louis XV and Louis XVI periods. Besides scientific instruments such as thermometers,
barometers and microscopes, he also worked as a clock maker. After presenting his work to the Royal Academy of
Sciences in 1734, he became increasingly popular with members of the court and the high aristocracy who were
interested in science. His most famous work is a tilting microscope, now preserved in the collection of the Château de
Versailles, that he presented to Stanisaw Leszczyski, father-in-law of Louis XV, in 1751.
New York | 19 Apr 2012, 10:00 AM | N08891
LOT 135
A LOUIS XIV ORMOLU-MOUNTED BRASS AND TORTOISESHELL-INLAID
SEWING CASKET
CIRCA 1700
13.5 cm; 21 cm; 16 cm
CATALOGUE NOTE
Having an overall matching shape, construction, and identical leaf-cast feet and acanthus-cast corner mounts of the
lower section and the lid, this lot is certainly the creation of the same workshop that produced four similar caskets
formerly in the Collections of Lily and Edmond J. Safra, sold Sotheby's New York, October 19, 2011, lots 708-711.
Certain design elements, such as the almost identical arabesques in the manner of Jean II Bérain, the female masks
and the crouching squirrel figures on the sides make this lot almost identical to lot 711 in that sale. The shape of these
boxes probably derives from earlier carved cherrywood, or bois de Saint-Lucie, boxes from Lorraine, which in turn
originate from smaller silver toilet boxes. Just like their silver prototypes, these Boulle boxes were intended for the
toilette table. In fact, in eighteenth-century inventories, these caskets were referred to as carrés de toilette. Jean-Marc
Nattier's portrait of Mme. Marsolier and her daughter in The Metropolitan Museum of Art shows two such boxes
remarkably similar to the present lot both in form and Boulle decoration and suggests that these caskets
were intended for the storage of small items of adornment. With its padded lid, the casket offered here might have
been used to store hair or sewing pins; essentials for a lady's toilette in the 18th century.
New York | 19 Apr 2012, 10:00 AM | N08891
LOT 136
A NAPOLEON III AUBUSSON RUG, FRANCE
circa 1870

Lot Sold: 2,000 USD
New York | 19 Apr 2012, 10:00 AM | N08891
LOT 137
AN AUBUSSON CARPET, FRANCE
late 19th century
CATALOGUE NOTE
Please see pages 152-153 and 198-199 for additional illustrations of this lot.
New York | 19 Apr 2012, 10:00 AM | N08891
LOT 138
A PAIR OF LOUIS XVI STYLE ORMOLU VASES, NOW MOUNTED AS LAMPS
19TH CENTURY
height of vases 14 in.; height with fittings 25 1/2 in.
36 cm; 65 cm

Lot Sold: 8,125 USD
New York | 19 Apr 2012, 10:00 AM | N08891
LOT 139
A SET OF FOUR LOUIS XV/XVI TRANSITIONAL CARVED GILTWOOD
FAUTEUILS
CIRCA 1770, STAMPED TILLIARD
Jacques Jean-Baptiste Tilliard (1723-1797), maître in 1752
height 35 1/2 in.
90.5 cm
ESTIMATE 200,000-300,000 USD
PROVENANCE
Collection of Sir Robert Abdy, 5th Baronet (1896-1976), Newton Ferrers, Cornwall
CATALOGUE NOTE
The current upholstery fabric of these fauteuils by Tassinari & Chatel is the same as that used in the refurbishment of
the wall hangings and a suite of seat furniture in Marie-Antoinette's salle de billiard at Versailles.
New York | 19 Apr 2012, 10:00 AM | N08891
LOT 140
A PAIR OF EARLY LOUIS XV CARVED GILTWOOD CANAPÉS
CIRCA 1730
100 cm; 135 cm

New York | 19 Apr 2012, 10:00 AM | N08891
LOT 141
A RÉGENCE CARVED GILTWOOD MIRROR
CIRCA 1720
258 cm; 132 cm

New York | 19 Apr 2012, 10:00 AM | N08891
LOT 142
A PAIR OF LOUIS XVI STYLE ORMOLU AND BLUED SEVEN-LIGHT
CANDELABRA
height 39 1/2 in.
100.5 cm

CATALOGUE NOTE
With its flowering branches upheld by female figures seated on a vase, this lot relates to a pair of Louis XVI ormolu
and patinated bronze, and thus also bi-color, candelabra sold Christie's London, May 19, 1983, lot 35. The vases of
that and this lot are similar in design to a small group of candelabra attributed to Pierre Gouthière or François Rémond
and now in the Frick, Wallace and Huntington Collections; see Theodore Dell, Furniture in the Frick Collection, Vol. VI,
New York, 1992, pp. 267-275; Peter Hughes, The Wallace Collection, Catalogue of Furniture, Vol. III, London, 1996,
pp. 1236-1240; and Shelley M. Bennett and Carolyn Sargentson eds., French Art of the Eighteenth Century at the
Huntington, New Haven and London, 2008, pp. 168-171, respectively.
New York | 19 Apr 2012, 10:00 AM | N08891
LOT 143
A PAIR OF ITALIAN GILT AND TÔLE-PEINTE TWO-BRANCH WALL LIGHTS
CIRCA 1900
49.5 cm; 28 cm

New York | 19 Apr 2012, 10:00 AM | N08891
LOT 144
A SET OF THREE TÔLE-PEINTE WALL LIGHTS
20TH CENTURY
heights 57 1/2 in. and 68 1/2 in.
146 cm; 174 cm

New York | 19 Apr 2012, 10:00 AM | N08891
LOT 145
A PAIR OF CUT GLASS-MOUNTED GILT-METAL AND TÔLE-PEINTE THREE-
BRANCH WALL LIGHTS
CIRCA 1900
63.5 cm; 28 cm

New York | 19 Apr 2012, 10:00 AM | N08891
LOT 146
AN IMPORTANT DUTCH BAROQUE CARVED GILTWOOD CONSOLE TABLE,
AFTER DESIGNS BY DANIEL MAROT
CIRCA 1690
86.5 cm; 190.5 cm; 85 cm
ESTIMATE 100,000-150,000 USD
PROVENANCE
Sir Julius Wernher, 1st Bt. (1850-1912), Luton Hoo, Bedfordshire, England, by descent to his son
Sir Harold Wernher, 3rd Bt. (1893-1973), Luton Hoo, Bedfordshire, England, and thence by descent
Christie's London, Works of Art from Luton Hoo, Moyns Park and Munden, September 1998, lot 164
CATALOGUE NOTE
This console table belongs to a group of tables which are the most splendid examples of William and Mary furniture
executed in the late 17th century.
Inspired by French prototypes, they represent a new phase in Dutch furniture making which reflects characteristics of
the mutual artistic influence between France and the Netherlands during the reign of Louis XIV. Numerous Dutch
artists and artisans came to Paris to perfect their art and to keep abreast of the latest trends. Some of them settled in
Paris and enjoyed the highest recognition, for example, Pierre Gole (born in Bergen near Amsterdam in 1620), the
"menuisier en ébenè" of the Sun King and also Alexandre-Jean Oppenordt, cabinet maker of the monarch, and
especially André Charles Boulle, whose father "Jean Bolt" came from the same Dutch province as Oppenordt.
The revocation of the Edict of Nantes in 1685 had the consequence of driving French Huguenots out. Daniel Marot
(Paris 1663-the Hague 1752) fled north to settle in the Hague. Marot, an architect, furniture designer and engraver
and pupil of Jean Le Pautre and son of architect Jean Marot (1620-1679), brought the fully developed Louis XIV court
style to the Netherlands and later to London. In the end, the English style, which is loosely called "William and Mary,"
owed much to his manner. In the Netherlands, he was appointed as court dessinateur by the Stadholder, who later
became William III of England. He is associated with designing interiors in the palace Het Loo, William's beloved
hunting palace near Apeldoorn. In 1694, he travelled with King William to London where his activities have
been concentrated at Hampton Court Palace. His works, as well as his designs for furniture and textiles, have been
published by Marot in his 'medals' between 1703 and 1715. It shows his model of tables in 'goût francaise,' which
were greatly inspired and marked by creations of Charles le Brun (1619-1690) and Jean l Bérain (1640-1711),
especially by the motif of herms or full caryatid legs.
Console tables had existed in the Netherlands since the mid-17th century and were referred to as "kwabtafels." Kwab
refers to the auricular style of ornaments adopted by Dutch silversmiths such as Johannes Lutma and the Van Vianen
brothers in the beginning of the 17th century. Later this style was adopted into the designs of carved furniture, as table
stands and hall benches (R. J. Baarsen, Nederlandse meubelen, 1600-1800, Rijksmuseum, Amsterdam, Zwolle,
1993, cat. no. 18, pp. 42-43). A kwab table as a stand of a chest has been sold in these rooms, Property from the
Collection of Dodie Rosekrans, New York, December 8, 9, 2011, lot 357.
Characteristic elements of Marot deriving from his livres are found on the present table. These models developed by
Marot broke away from this traditional Dutch ornament and introduced a fashion for architectural furniture thus far
unknown (R. Baarssen, op. cit., p. 77). Characteristics of this console table include a perforated central cartouche,
front legs in broken S-shape, the helmeted warriors, the curved shaped X-stretcher with bun feet. This table, as most
of the others mentioned here under, can be easily dismantled. Each leg terminates in a block, into which the top frame
and the bun feet can be fitted, while the five aprons are fixed to the frame. This particular form of construction could
both help the gilder and allow for their transportation from house to house or a furniture making novelty. It is a feature
also found in the construction of some very large eight-legged Louis XIV bureaux and amongst many other examples
of furniture from the Netherlands.
Comparable examples all part of a closely related group of giltwood tables include:
- A table in the collection of H.M. Queen Beatrix of the Netherlands at Palace Huis ten Bosch near The Hague. This
table is thought to have come from the palace of Honselaarsdijk. It incorporates a maiden seated on a camel in the
apron, possibly an allegory of Asia, and may have been part of a set representing the Continents. It has slightly
different carved ornament to the frieze and legs, which may be part of a 19th Century restoration (M. Loonstra, Het
Huis Int Bosch, Zutphen, 1985, p. 136).
- A pair of tables in the gallery of Het Loo Palace in Apeldoorn (A. Vliegenthart, Het Loo Palace, Emmerich, 2002, p.
86, fig. 113). Similar to the table at Huis ten Bosch, these were acquired in the 1970's for the refurbishment of the
palace. Marot had been involved in the renovation of het Loo for William III since 1686, and executed a design for a
rectangular table with caryatid supports, together with a mirror and candlestand in 1700-01, which is illustrated in R.
Baarsen in Courts and Colonies, New York/Pittsburg, 1988-89, p. 144, fig. 86.
- A table in Rijksmuseum, Amsterdam, which is again similar to the one at Huis ten Bosch and those at Het Loo. This
table was acquired in the 1970s, and is also thought to have come from the palace at Honselaardijk.
- The parcel-gilt and blue-painted table, slightly related and reputedly executed by William Farnborough in 1692 for
Queen Mary's water gallery at Hampton Court, Sold Sotheby's London, July 10, 1998, lot 87.
- A pair of tables, in shape and decoration virtually identical to the present example, which was sold from the collection
of Comtesse Diane de Castellane, Sotheby's Monaco, December 9, 1995, lot 116 (to Didier Aaron). These tables
share their unusual construction with the present table, which allows them to be entirely dismantled.
- A pair of tables, which was sold anonymously, Christie's London, July 5, 1984, lot 44.
- A matched pair of Dutch giltwood pier tables, late 17th century, which were sold as the Property of a Lady, Christie's
London, June 12, 2003, lot 1110, formerly belonging to the collection of Mrs. Wakefield Saunders, London.
- An important Louis XIV console 'Aux Tetes de Romain' after drawings by D. Marot, the Netherlands, circa 1680 -
1700; sold anonymously, Koller, Zurich, Switzerland, March 25, 2010, lot 1082, in shape and size closely related to
the present example.
Information kindly provided by Dr. Reinier Baarsen.
New York | 19 Apr 2012, 10:00 AM | N08891
LOT 147
AMARANTH AND MARQUETRY TABLE EN CHIFFONNIÈRE
CIRCA 1775, STAMPED C.TOPINO
72.5 cm; 37.5 cm; 37.5 cm

New York | 19 Apr 2012, 10:00 AM | N08891
LOT 148
A LOUIS XV/XVI TRANSITIONAL ORMOLU-MOUNTED TULIPWOOD AND
MARQUETRY TABLE EN CHIFFONNIÈRE
CIRCA 1775
with partially effaced stamp reading JME ..UD..
75 cm; 35 cm

New York | 19 Apr 2012, 10:00 AM | N08891
LOT 149
A LOUIS XV ORMOLU-MOUNTED TORTOISESHELL AND BRASS-INLAID
CARTEL CLOCK, THE CLOCK CASE ATTRIBUTED TO BVRB I
CIRCA 1720, THE DIAL SIGNED GILLE AÎNÉ A&NBSP;PARIS, THE ORMOLU
STRUCK SEVERAL WITH THE "C" COURONNÉ POINÇON, THE
TORTOISESHELL POSSIBLY LATER
on a later base stamped four times N.P.Severin.
Nicolas Pierre Séverin (1728-1798), maître in 1757
102 cm; 57.5 cm; 24.5 cm

New York | 19 Apr 2012, 10:00 AM | N08891
LOT 150
A LOUIS XIV STYLE GILT BRONZE-MOUNTED BRASS AND TORTOISESHELL-
INLAID EBONIZED CABINET
19TH CENTURY, INCORPORATING SOME 18TH-CENTURY ELEMENTS

100.5 cm; 71.5 cm; 49 cm

New York | 19 Apr 2012, 10:00 AM | N08891
LOT 151
A LARGE LOUIS XV STYLE GILTWOOD DINING TABLE
MODERN
height 29 in.; length fully extended 241 in.; width 61 in.
74 cm; 612.5 cm; 155 cm

New York | 19 Apr 2012, 10:00 AM | N08891
LOT 152
A SET OF TWELVE LOUIS XV CARVED GILTWOOD CHAIRS
CIRCA 1735
Together with eight later copies. 20 pieces.
height 40 in.
102 cm

New York | 19 Apr 2012, 10:00 AM | N08891
LOT 153
A LARGE PAIR OF ITALIAN NEOCLASSICAL CUT GLASS-MOUNTED
GILTWOOD TWENTY-FOUR-LIGHT CHANDELIERS
GENOA, CIRCA 1800
173 cm; 135 cm
ESTIMATE 100,000-150,000 USD

New York | 19 Apr 2012, 10:00 AM | N08891
LOT 154
CIRCA 1780
upholstered à châssis with polychrome silk embroidered panel within gold galloon trim,
European, late 18th century.
105.5 cm; 70 cm

Lot Sold: 8,125 USD
New York | 19 Apr 2012, 10:00 AM | N08891
LOT 155
A LOUIS XVI DESIGN SAVONNERIE STYLE CARPET, FRANCE
late 20th century

New York | 19 Apr 2012, 10:00 AM | N08891
LOT 156
A LOUIS XV STYLE ORMOLU-MOUNTED CHINESE CELADON PORCELAIN
VASE
LATE&NBSP;19TH CENTURY
height 20 3/4 in.
53 cm

New York | 19 Apr 2012, 10:00 AM | N08891
LOT 157
CIRCA 1770, STAMPED PAJOT
Antoine-Philippe Pajot (1730-1781)
height 15 in.
38.5 cm
CATALOGUE NOTE
Antoine-Philippe Pajot was one of the more versatile ciseleurs of the second half of the 18th century producing a large
variety of bronzes d'ameublement, mounted porcelain, glass, hardstones and rock crystal as well as furniture mounts,
which were utilized by some of the most illustrious ébénistes of the time such as Adrien Delorme, Antoine Gosselin,
Jean-Franois Leleu, Pierre Macret and Pierre Pionez. After becoming maître fondeur-ciseleur in 1765 Pajot had briefly
worked in the workshop of Pierre Macret in the Grande Rue du Faubourg St. Antoine, from where he soon moved his
atelier to a house belonging to the marquise de la Bruyère in the rue Bar-du-Bec. Although he did design and sign his
own models, Pajot did not execute them but outsourced their manufacture to his fellow craftsmen including the
bronziers Jean-Jacques Gosset and François Virgile and the doreur François Fagard.
New York | 19 Apr 2012, 10:00 AM | N08891
LOT 158
A LOUIS XVI ORMOLU-MOUNTED, BRASS-INLAID, AMARANTH, STAINED
SYCAMORE AND PARQUETRY CONSOLE DESSERTE
CIRCA 1775, STAMPED RVLC AND BEARING THE LATER STAMP CASPAR
SCHNEIDER
The interior later fitted and door possibly later.
93.5 cm; 131 cm; 44.5 cm

New York | 19 Apr 2012, 10:00 AM | N08891
LOT 159
A PAIR OF LOUIS XV ORMOLU-MOUNTED PATINATED BRONZE FIGURES OF
SWANS, PROBABLY DELIVERED BY LAZARE DUVAUX
CIRCA 1755, ON LATER BASES

28.5 cm; 27 cm
ESTIMATE 300,000-500,000 USD
CATALOGUE NOTE
The design for these swans was most likely inspired by Meissen prototypes. In fact, models of the mute swan, native
to Europe and Asia, are recorded as having been worked on by Johann Joachim Kändler with the assistance of Peter
Reinicke in November 1747. Meissen porcelain swans were most often fitted in ormolu to serve as candelabra once
imported into France, such as the pair sold Property from the Collections of Lily and Edmond J. Safra, Sotheby's New
York, October 19, 2011, lot 763. Apart from the present lot, there are only two other known existing French 18th
century adaptations in bronze of the Meissen swan figures: one in ormolu, almost certainly delivered for Madame de
Pompadour for her remodeled bathroom at the hôtel d'Evreux, later in the Riahi collection and subsequently sold
Christie's New York, November 2, 2000, lot 5 and another pair, also in ormolu, formerly in the collection of the
Marquess of Cholmondeley, sold Christie's London, December 8, 1994, lot 16. Whereas the swans delivered to
Madame de Pompadour were used as chenets, the others show no signs of ever being fitted as andirons and thus
were most likely intended as sculptures. Even though there are small differences among these three pairs, it is most
likely that they were all produced after Meissen models and possibly by the same craftsman. Madame de
Pompadour's feux à cygnes were delivered by the famed marchand-mercier Lazare Duvaux, who would have
commissioned the figures from a modeleur or sculpteur. Unfortunately, neither the marquise's nor the present swans
can be attributed to a particular maker, but Duvaux is known to have worked with a number of prominent bronziers
such as Leroy, Buron, Gallien, Paffe, Vassout, Osmond and Jacques Caffiéri. The latter was much favored by
Madame de Pompadour and it would be safe to assume that Duvaux turned to him to fulfill the marquise's
commission. However, Caffiéri's inventories do not mention swan figures and thus this group of gilt and patinated
bronze figures cannot be attributed to him with certainty either.
New York | 19 Apr 2012, 10:00 AM | N08891
LOT 160
A MONUMENTAL NAPOLEON III SILVER-PLATED TWELVE-LIGHT
CANDELABRUM CENTERPIECE, CHRISTOFLE, PARIS,
1854-57
the oval base decorated with Vitruvian scrolls, openwork lattice panels, applied berried
foliage and shields bearing coat-of-arms under coronets, supporting a fully modeled
classical female dancing while a satyr plays a pan flute under a foliate frame, the reeded
scroll branches springing from leaves and with leafy drip pans supporting lobed campana
form sconces, all topped by a circular basket pierced with flaring sides pierced with lobes.
marked and signed on one foot, another numbered 238009
height 36 1/4 in.
92 cm

PROVENANCE
The arms are those of Milan or Milani, of Provence, under a baron's coronet.
CATALOGUE NOTE
The form of this piece, with its pear-shaped arbor, was used by Christofle for the candelabra and centerpieces in the
service made in 1863 for Archduke Maximillian as Emperor of Mexico (Henri Bouilhet, 150 Ans d'Orfèvrerie, p. 90, fig.
1). The central group of a faun and a bacchante, though, had been used on a centerpiece for Napoleon III and
Empress Eugenie at the Tuileries (ibid., p. 119, fig. 5).
New York | 19 Apr 2012, 10:00 AM | N08891
LOT 161
A PAIR OF NAPOLEON III SILVER-PLATED SEVEN-LIGHT FIGURAL
CANDELABRA, CHRISTOFLE, PARIS,
1863-64 AND 1868-69
the stepped circular bases raised on hoof feet headed by leopard heads linked by
grapevine, and supporting fully modeled bacchic infants climbing twisted branch-form
stems wrapped with grapevine and terminating in scroll branches topped by drip pans and
sconces decorated with leaves and grapes.
marked on undersides and numbered 657162 and 465341
height 25 1/2 in.
64.7 cm

CATALOGUE NOTE
A candelabrum of this model was shown by Christofle at the 1851 Crystal Palace Exhibition in London, illustrated
Henri Bouilhet, 150 Ans d'Orfèvrerie: Christofle, p. 67, fig. 4.
New York | 19 Apr 2012, 10:00 AM | N08891
LOT 162
A PAIR OF NAPOLEON III SILVER-PLATED "HUNTING" TAZZE, CHRISTOFLE,
PARIS,
1854-57
the oval bases pierced with lobes and applied with reeds and shellwork cartouches
supporting large rockwork knops mounted with foliage and hounds pursuing game birds in
the manner of Oudry, centered by tapered stems topped by conforming openwork baskets.
signed and marked center of baskets, numbered underneath 242557 and 209201
height 18 7/8 in.
48 cm

New York | 19 Apr 2012, 10:00 AM | N08891
LOT 163
A PAIR OF EARLY VICTORIAN SILVER-PLATED WINE COOLERS,
ELKINGTON, MASON & CO., BIRMINGHAM, CIRCA 1840
of campana form, applied at rim and lower body with cast grapes and twisted
grapevine,engraved with arms on both sides, the bases formed of overlapping fluted
shellwork, removable Sheffield-plated liners.
marked on bases
height 12 5/8 in.
32 cm

PROVENANCE
The arms are those of Rashleigh, Prideaux, Cornwall, impaling Stewart.
New York | 19 Apr 2012, 10:00 AM | N08891
LOT 164
A LARGE PAIR OF CONTINENTAL SILVER-PLATED "STYLE TROUBADOUR"
SIX-LIGHT CANDELABRA, POSSIBLY FRENCH,
CIRCA 1850-60
on shaped oval plinths, centered by four paw feet supporting ionic capitals decorated with
flowerheads and dolphins and flanked by fully modeled Renaissance soldiers in armor
seated on the ends, rising to rectangular knops applied with salamanders and swags of
fruit and flowers, the elongated square column form stems with panels of urns and ribbon-
tied flowers and topped by clusters of fruit, and with six scrolling strapwork and foliage
branches topped by circular drip pans and campana form sconces.
apparently unmarked
33 3/8 in.
84.7 cm

New York | 19 Apr 2012, 10:00 AM | N08891
LOT 165
A LARGE CONTINENTAL SILVER-PLATED "STYLE TROUBADOUR" BOAT-
SHAPED CENTERPIECE, POSSIBLY FRENCH,
CIRCA 1850-60
the oval body applied with drapery swags suspended from shells and with balustrade ends
topped by lion heads, centered by a tall column surmounted by a putto wearing a captain's
hat, all raised on two architectural supports terminating in dolphins.
length 26 in.
66 cm

New York | 19 Apr 2012, 10:00 AM | N08891
LOT 166
A PAIR OF SILVER FOUR-LIGHT FIGURAL CANDELABRA, PROBABLY
AUSTRIAN, LATE 19TH CENTURY
the shaped circular bases chased with lobes and with applied with twisted branches at
angles rising to grapevine forms stems and branches with pendant grapes, tendrils and
steated bacchic putto, branches tooped by fixed sconces. Together with a pair of Louis XV
style gilt-copper five-light candelabra. 4 pieces.
bases with late 19th century Russian import marks
height 21 5/8 in.
54.9 cm
94 oz 4 dwt
2930 g

New York | 19 Apr 2012, 10:00 AM | N08891
LOT 167
A GERMAN SILVER LOUIS XVI STYLE TWO-HANDLED RECTANGULAR TRAY,
NERESHEIMER, HANAU,
LATE 19TH CENTURY
the sides pierced and chased with lobes enclosing pendant bellflowers and garland swags
and centered by profiles in beaded reserves, the handles formed as openwork ribbon bows.
marked on underside
length over handles 28 in.
71.1 cm
118 oz 16 dwt
3695 g

New York | 19 Apr 2012, 10:00 AM | N08891
LOT 168
A SILVER-PLATED LARGE ROAST CART,
CIRCA 1875
the oval dome embossed with lattice, shellwork and scrolling foliage, also with pendant
bellflowers and sprigs of berried laurel, raised on four reeded strap supports and knopped
ebonized wood base, interior with well-and-tree platter and two circular wells.
apparently unmarked
length over handles 41 in.; height 45 in.
104.1 cm, 114.3 cm

New York | 19 Apr 2012, 10:00 AM | N08891
LOT 169
A LOUIS XV CARVED GILTWOOD TWIN-PANEL FIRE SCREEN
MID-18TH CENTURY
upholstered à châssis with coral-mounted polychrome silk embroidered panels, European,
circa 1700.
117 cm; 165.5 cm

New York | 19 Apr 2012, 10:00 AM | N08891
LOT 170
CIRCA 1770
height 17 in.
43.5 cm
CATALOGUE NOTE
Two pairs of almost identical chenets were delivered by Pitoin, the official court bronzier, to the Garde Meuble de la
Couronne in 1767. These chenets, though of different size and with a central leg surmounted by a vase, had identical
voluted legs, obelisks hung with garlands, large flaming urns and very similar lion masks. One of the pairs was placed
in Madame Victoire's bedroom at Saint-Hubert whereas the other was sent to the Château de Compiègne. On
November 29, 1773, Pitoin delivered another similar pair of chenets to the Comte d'Artois at Versailles; see Svend
Eriksen, Early Neo-Classicism in France, London, 1972, pp. 357-359.
New York | 19 Apr 2012, 10:00 AM | N08891
LOT 171
A LOUIS XV STYLE ROCK CRYSTAL-MOUNTED GILT BRONZE NINE-LIGHT
CHANDELIER
CIRCA 1900
107 cm; 61 cm

New York | 19 Apr 2012, 10:00 AM | N08891
LOT 172
CIRCA 1715
170.5 cm; 109.5 cm

New York | 19 Apr 2012, 10:00 AM | N08891
LOT 173
A PAIR OF LOUIS XV/XVI TRANSITIONAL STYLE ORMOLU-MOUNTED
TULIPWOOD, AMARANTH AND MARQUETRY CONSOLES DESSERTES
CIRCA&NBSP;1900
88.5 cm; 164 cm; 58 cm

New York | 19 Apr 2012, 10:00 AM | N08891
LOT 174
A SET OF FOUR LOUIS XVI WHITE-PAINTED AND CARVED FAUTEUILS
CIRCA 1785
height 35 3/4 in.
91 cm

New York | 19 Apr 2012, 10:00 AM | N08891
LOT 175
A SET OF FOUR LOUIS XVI WHITE-PAINTED AND CARVED FAUTEUILS
height 36 in.
91.5 cm

New York | 19 Apr 2012, 10:00 AM | N08891
LOT 176
CIRCA 1780, STAMPED I.B. LELARGE
Jean-Baptiste Lelarge III (1743-1802), maître in 1775
height 38 1/4 in.
97.5 cm

PROVENANCE
Maître Gilles Neret-Minet, Hôtel Drouot, Paris, November 15, 1999, lot 106B
New York | 19 Apr 2012, 10:00 AM | N08891
LOT 177
A PAIR OF LOUIS XVI CARVED GILTWOOD MARQUISES
CIRCA 1780, STAMPED I. B. LELARGE
Jean-Baptiste Lelarge III (1743-1802), maître in 1775
height 39 1/2 in.
100.5 cm
PROVENANCE
Maître Gilles Neret-Minet, Hôtel Drouot, Paris, November 15, 1999, lot 106A
New York | 19 Apr 2012, 10:00 AM | N08891
LOT 178
AN ITALIAN LATE BAROQUE GILT AND BLACK LACQUERED SLANT-FRONT
DESK
VENICE, EARLY 18TH CENTURY

96 cm; 100 cm; 52.5 cm

CATALOGUE NOTE
An almost identical desk is illustrated and discussed in Lacche Veneziane del Settecento, Giulio Lorenzetti, Venice,
1938, Fig. 2-4.
New York | 19 Apr 2012, 10:00 AM | N08891
LOT 179
A LATE LOUIS XVI ORMOLU-MOUNTED JAPANESE GILT AND BLACK
LACQUER AND EBONIZED FIRE SCREEN
CIRCA 1790, THE LACQUER 17TH CENTURY, BEARING THE STAMP JOSEPH
108 cm; 69 cm

New York | 19 Apr 2012, 10:00 AM | N08891
LOT 180
A PAIR OF LOUIS XV STYLE GILT BRONZE CHENETS
19TH CENTURY
height 18 in.
46 cm

New York | 19 Apr 2012, 10:00 AM | N08891
LOT 181
A PAIR OF LOUIS XV PORCELAIN-MOUNTED ORMOLU AND JAPANESE RED
LACQUER CUPS
THE ORMOLU MID-18TH CENTURY, LACKING LIDS

height 3 in.
7.5 cm

New York | 19 Apr 2012, 10:00 AM | N08891
LOT 182
AN ITALIAN YELLOW-PAINTED AND ARTE POVERA BOX
VENICE, 18TH CENTURY

20.5 cm; 30.5 cm; 23 cm

Lot Sold: 5,000 USD
New York | 19 Apr 2012, 10:00 AM | N08891
LOT 183
A LOUIS XV STYLE ORMOLU, CHINESE LACQUER AND BLANC-DE-CHINE
PORCELAIN ENCRIER
THE GILT BRONZE 19TH CENTURY, THE LACQUER 18TH CENTURY
18.5 cm; 54 cm

New York | 19 Apr 2012, 10:00 AM | N08891
LOT 184
A CHINESE EXPORT PARCEL-GILT BLACK LACQUER BOX AND PAKTONG
TEA CADDY
EARLY 19TH CENTURY

15.9 cm; 20.3 cm; 15.2 cm

Lot Sold: 2,125 USD
New York | 19 Apr 2012, 10:00 AM | N08891
LOT 185
A LOUIS XIV GILTWOOD AND JAPANESE BLACK LACQUER TABLE
THE BASE EARLY 18TH CENTURY, THE LACQUER 19TH CENTURY&NBSP;
70 cm; 77.5 cm; 49.5 cm

New York | 19 Apr 2012, 10:00 AM | N08891
LOT 186
A LOUIS XV GILT AND RED LACQUERED AND POLYCHROME-DECORATED
TABLE EN CHIFFONNIÈRE
MID-18TH CENTURY, STAMPED GOSSELIN JME, EXTENSIVELY
REDECORATED
Antoine Gosselin (1731-1794), maître in 1752
74 cm; 32.5 cm; 26 cm

New York | 19 Apr 2012, 10:00 AM | N08891
LOT 187
A LOUIS XV BLACK LACQUERED AND CHINESE EXPORT GILT AND BLACK
LACQUERED SLANT-FRONT SMALL DESK
MID-18TH CENTURY
81.5 cm; 48.5 cm; 30.5 cm

New York | 19 Apr 2012, 10:00 AM | N08891
LOT 188
FRENCH SCHOOL, A CHINOISERIE
18TH CENTURY
oil on canvas.
184.5 cm; 127 cm

New York | 19 Apr 2012, 10:00 AM | N08891
LOT 189
A LOUIS XVI STYLE AUBUSSON CARPET, FRANCE
circa 1890

New York | 19 Apr 2012, 10:00 AM | N08891
LOT 190
A JAPANESE GILT METAL-MOUNTED, MOTHER-OF-PEARL-INLAID GILT AND
BLACK LACQUER CABINET ON A LOUIS XIV CARVED GILTWOOD STAND
THE CABINET&NBSP;CIRCA 1670-90, THE STAND POSSIBLY DUTCH, LATE
17TH CENTURY
126.5 cm; 84 cm; 53.5 cm

CATALOGUE NOTE
A very similar cabinet in the Pictorial-style with almost identical borders and similary extensive use of pearlshell with a
banana tree and pavillion is in the Chinese Pavillion at Drottningholm, Sweden, thought to date from circa 1670-90. It
is discussed and illustrated O. Impey, Japanese Export Lacquer 1580-1850, Amsterdam, 2005, p. 132, fig. 261.
New York | 19 Apr 2012, 10:00 AM | N08891
LOT 191
A CHINESE GILT AND POLYCHROME LACQUER DECORATED TWO-DOOR
CABINET
CIRCA 1900
166 cm; 110 cm; 63.5 cm

New York | 19 Apr 2012, 10:00 AM | N08891
LOT 192
A PAIR OF LOUIS XVI STYLE ORMOLU-MOUNTED CHINESE BROWN-GLAZED
PORCELAIN VASES
19TH CENTURY
height 27 1/4 in.
69.5 cm

New York | 19 Apr 2012, 10:00 AM | N08891
LOT 193
A PAIR OF LOUIS XVI STYLE GILT BRONZE-MOUNTED SÈVRES-STYLE
PORCELAIN SEAUX À VERRES
LATE19TH CENTURY
height 16 1/4 in.
41.5 cm

Lot Sold: 8,750 USD
New York | 19 Apr 2012, 10:00 AM | N08891
LOT 194
A LOUIS XV STYLE GILT BRONZE-MOUNTED CHINESE PORCELAIN EWER

height 19 1/4 in.
49 cm

New York | 19 Apr 2012, 10:00 AM | N08891
LOT 195
A LOUIS XV PARCEL-GILT, "EN GRISAILLE" AND POLYCHROME-PAINTED
DRESSING CASE, ATTRIBUTED TO JEAN GERNAY
SPA, MID-18TH CENTURY
16.5 cm; 44 cm; 34.5 cm

PROVENANCE
EXHIBITED
Spa, café de l'Europe, Spa, 1976
LITERATURE
Monika Kopplin, European Lacquer, Münster, 2010, p. 170, ill. fig. 2
R. Paquay, 'Peintres, décorateurs, tabletiers, tourneurs et autres artisans de 1750 à la révolution', Histoire et
Archéologie spadoises, 1976, pp. 22 and 23 state that a box by Jean-Gernay was acquired in Spa in 1804 by the
Empress Joséphine Bonaparte (1763-1814), for the amount of 2,400 francs.
CATALOGUE NOTE
Decorated in Indian ink, with a Dutch skating scene representing winter and with gilt inscription l'Hyver. Each side
decorated with "grisaille" rural scenes, the back depicting a Donjon and inscribed Le Chateau de Teniers. The hinged
top fitted with mirror and opening to reveal a fitted interior with brush and nine boxes decorated with elegant scenes.
Each with gilt inscription:

- Les Oyes de Frere Philippe
- Le Calandrier des vieillards
- La Frutier
- Abbe Au Angedeyous
- Les plaisirs de la jeunesse
- L'hear du berger
- Le baise donné
- Le cuvier
- Le baiser rendu
Spa in Belgium is one of the oldest centers of the lacquer trade. It began there before 1600, probably as a result of the
activities of local bourdoniers. That word stems from the Italian bordoni, the Venetian makers of staffs or staves for
pilgrims. Long sticks of this kind became popular with the invalids who came to Spa to take the waters. It was
customary in Spa to present a bourdon to dignitaries. Soon, other objects were lacquered and sold as souvenirs from
Spa, for example brushes, bellows and caskets like the present one. In the 18th century Spa was christened 'Le cafe
de l'Europe' and in the summertime the small Ardennes town thronged with kings, princes and nobility. The main
source was named after Peter the Great, who visited in 1721. Naturally, a trade in luxury goods flourished, including
the "Boites de Spa" lacquered boxes painted with views of the town and surroundings.
Jean Gernay (1719-1791), who trained in Spa under his father Pierre before going to Paris, became the town's best-
known artist after he returned there in 1756. His work was much in demand amongst guests taking the waters.
Specializing in pen-and-ink copies of engravings, he developed such a consummate mastery of technique that he
even surpassed the delicacy of the works he copied, primarily French reproductions of paintings with scène galante
motifs and finely detailed monochromatic views, often on parchment mounted onto boxes.
Information kindly provided by Silvie de Spa and Chantal de Spot.
New York | 19 Apr 2012, 10:00 AM | N08891
LOT 196
A LATE LOUIS XVI CARVED MAHOGANY TILT-TOP GUÉRIDON
LATE 18TH CENTURY

50.8 cm; 52.1 cm

New York | 19 Apr 2012, 10:00 AM | N08891
LOT 197
A LOUIS XV ORMOLU-MOUNTED EBONIZED AND JAPANESE MOMOYAMA
MOTHER-OF-PEARL-INLAID, GILT AND BLACK LACQUER SMALL CABINET
MID-18TH CENTURY, THE LACQUER LATE 16TH CENTURY

74.5 cm; 46 cm; 37 cm

New York | 19 Apr 2012, 10:00 AM | N08891
LOT 198
A SET OF FOUR LOUIS XV STYLE ORMOLU THREE-BRANCH WALL LIGHTS
72.5 cm; 51 cm

New York | 19 Apr 2012, 10:00 AM | N08891
LOT 199
A FLEMISH TAPESTRY DEPICTING 'THE TRIUMPH OF BACCHUS,' FROM A
SERIES OF THE TRIUMPHS OF THE GODS, WOVEN IN THE WORKSHOP OF
JUDOCUS DE VOS (1661/62-1734), AFTER DESIGNS ATTRIBUTED TO VICTOR
JANSSENS (1658-1736) AND AUGUSTIN COPPENS (1668-1740)
CIRCA 1705, BRUSSELS

Brussels town mark on lower left selvage, signed on the lower right selvage: IV DOCUS DE
VOS
height 11 ft. 8 1/2 in.; width 15 ft. 3 in.
357 cm; 465 cm

LITERATURE
Koenraad Brosens, A Contextual Study of Brussels Tapestry, 1670-1770, Brussels, 2004, p. 527, fig. 23
CATALOGUE NOTE
Bacchus, the god of wine and revelry, is shown as a handsome youth seated before an arcadian landscape amidst
classical ruins, holding a cup and a staff adorned with grapes. A crown of grape leaves is lowered on to his head
as inebriated merrymakers carouse and play music around him; one sleeps with one hand on his wine jug and a child
eats grapes from an urn. Scenes of grape harvest and winemaking, as well as the follies of the over-imbibed,
populate the landscape behind.
At the dawn of the 18th century, the last great generation of Brussels weavers turned to designs employing more
playful forms, moving away from severe Baroque historical and mythological subjects and towards a lighter Régence
style. The narratives in tapestry series became more relaxed, sometimes comprising a loose compilation of associated
subjects, combinations of which could be chosen according to a client's wishes. The present composition of the
Triumph of Bacchus (or Autumn) is from The Triumphs of the Gods (also referred to as The Four Seasons), a popular
series which also included Flora, Ceres, and Vulcan, among others; these were produced in the workshops of Albert
Auwercx and Judocus de Vos, who signed the present tapestry. The designs for the series have recently been
attributed on stylistic grounds to Victor Janssens and Augustin Coppens, who frequently collaborated.
New York | 19 Apr 2012, 10:00 AM | N08891
LOT 200
A SET OF THREE LOUIS XIV STYLE CARVED GILTWOOD BANQUETTES
height 22 in.; length 64 in.; width 21 in.
56 cm; 163 cm; 53.5 cm

New York | 19 Apr 2012, 10:00 AM | N08891
LOT 201
A LOUIS XV CREAM AND GREEN-PAINTED AND CARVED BANQUETTE
MID-18TH CENTURY
height 20 in.; length 78 1/2 in.; width 26 1/2 in.
51 cm; 199.5 cm; 67.5 cm

New York | 19 Apr 2012, 10:00 AM | N08891
LOT 202
A SWEDISH NEOCLASSICAL PARCEL-GILT AND FAUX PORPHYRY-PAINTED
PEDESTAL CABINET
LATE 18TH CENTURY
113 cm; 60.5 cm; 61 cm

Lot Sold: 8,125 USD
New York | 19 Apr 2012, 10:00 AM | N08891
LOT 203
A FRENCH MARBLE BUST OF A NOBLEWOMAN, IN THE MANNER OF JEAN-
BAPTISTE PIGALLE (1714-1785)
LATE 19TH/20TH CENTURY
inscribed on the reverse J.B. Pigalle fecit 1754.
height including veined marble socle 27 in.
68.6 cm

New York | 19 Apr 2012, 10:00 AM | N08891
LOT 204
A FRENCH MARBLE BUST OF A NOBLEWOMAN, IN THE MANNER OF JEAN-
ANTOINE HOUDON (1741-1828)
LATE 19TH/20TH CENTURY
height including socle 32 1/4 in.
82 cm

New York | 19 Apr 2012, 10:00 AM | N08891
LOT 205
A FRENCH OR ITALIAN MARBLE BUST OF A GENTLEMAN
19TH CENTURY
height including socle 28 1/2 in.
72.4 cm

New York | 19 Apr 2012, 10:00 AM | N08891
LOT 206
AN ITALIAN MARBLE BUST OF HERCULES IN THE GUISE OF BACCHUS
LATE 19TH CENTURY

height including rectangular waisted socle 35 1/4 in.
89.5 cm

Lot Sold: 8,125 USD
New York | 19 Apr 2012, 10:00 AM | N08891
LOT 207
A LARGE ITALIAN MARBLE BUST OF MENELAUS, AFTER THE ANTIQUE
height including socle 50 in.
127 cm

New York | 19 Apr 2012, 10:00 AM | N08891
LOT 208
A LOUIS XVI STYLE PARCEL-GILT AND BLACK-PAINTED WROUGHT-IRON
CONSOLE TABLE
CIRCA 1900
91.5 cm; 117 cm; 43.5 cm

New York | 19 Apr 2012, 10:00 AM | N08891
LOT 209
A SET OF FOUR LARGE NEOGOTHIC GRAY-PAINTED IRON CANDLE
HOLDERS

height 46 3/4 in.
119 cm

New York | 19 Apr 2012, 10:00 AM | N08891
LOT 210
A PAIR OF BAROQUE STYLE WROUGHT-IRON CHENETS
height 36 in.
91.5 cm

New York | 19 Apr 2012, 10:00 AM | N08891
LOT 211
A PAIR OF LOUIS XIV STYLE WROUGHT-IRON CHENETS
height 26 3/4 in.
68 cm

New York | 19 Apr 2012, 10:00 AM | N08891
LOT 212
A LARGE PAIR OF BLACK-PAINTED CAST IRON VASES
MID-19TH CENTURY
82 cm; 66 cm

New York | 19 Apr 2012, 10:00 AM | N08891
LOT 213
A RARE AND EXTENSIVE LOUIS XVI SILVER-GILT NÉCESSAIRE, JACQUES-
HENRI ALBERTI, STRASBOURG, 1782-83
all with running laurel borders and bud finials, engraved with contemporary arms under
ecclesiastic hat on ribbon-tied ermine mantle, comprising:
large pear-shaped chocolate or coffee pot with molinet
smaller cylindrical chocolate pot
apple-shaped teapot
oviform hot milk jug
quadrangular tea caddy
shaped circular plate
pair of tulip-shaped beakers
three cylindrical cannisters
hand candlestick
spherical sponge box
matching soap box
egg-shaped tea ball
four cut-glass bottles with silver-gilt caps
folding lampstand
lamp
funnel
and in drawer
dinner knife
dessert knife
fruit knife with ivory handle
tablespoon
table fork
dessert spoon
dessert fork
two teaspoons
serving spade
salt shovel with marrow scoop
pair of tweezers
pair of sugar tongs
clip for basin
and inkwell and sander in white silver by François Joubert, Paris, 1755
38 pieces, in a fitted brass-bound chest. Together with an Edwardian mahogany display
cabinet, circa 1910.
diameter of plate 9 5/8 in.; length of chest 24 1/2 in.; height of display cabinet 27 1/2 in.;
width 40 1/2 in.; depth 17 in.
24.4 cm; 62.3 cm; 69.6 cm; 102.9 cm; 43.2 cm
171 oz 10 dwt
5331 g
ESTIMATE 100,000-150,000 USD
PROVENANCE
Monseigneur Raymond de Durfort (1725-1792)
EXHIBITED
Paris, 1964: Le Siècle d'Or de l'Orfèvrerie de Strasbourg, Jacques Kugel, 10-31 October 1964, no. 131, pp. 82-84,
illus.
LITERATURE
Etienne Martin, ed. Deux siècles d'orfèvrerie à Strasbourg, 2004, p. 166.
CATALOGUE NOTE
Raymond de Durfort grew up at the Château de Roque-en-Quercy. In 1750, he was made Abbot of Vieuville (near
Dol) at the age of 25; in 1757 he was named Abbot of Lessay in the Manche, and in 1761 he was named chaplain to
the King. He was named Bishop of Avranches at Versailles November 8, 1764, a position he held until becoming
Bishop of Montpellier in May 1766. In 1774 he was consecrated Archbishop of Besançon in the Cathedral Saint-Jean;
he held the title until it was abolished in the French Revolution, then died in 1792.
New York | 19 Apr 2012, 10:00 AM | N08891
LOT 214
CONTINENTAL SCHOOL, ALLEGORY OF ASTRONOMY AND THE ARTS, WITH
BIBLICAL AND CLASSICAL QUOTES IN CARVED STONE MEDALLIONS: A
SET OF SIX PAINTINGS
CIRCA 1700
all oil on canvas
two: 38 1/4 by 104 7/8 in.; the others: 59 by 105 1/2 in., 61 7/8 by 104 7/8 in., 62 by 104 7/8
in., and 64 5/8 by 104 7/8 in.
97.1 by 266.4 cm; 150 by 268 cm; 157.2 by 266.4 cm; 157.5 by 266.4 cm; 164.2 by 266.4 cm

New York | 19 Apr 2012, 10:00 AM | N08891
LOT 215
A LOUIS XVI ORMOLU-MOUNTED CITRONNIER AND FLORAL MARQUETRY
CIRCA 1775
75 cm; 50.5 cm; 32.5 cm

New York | 19 Apr 2012, 10:00 AM | N08891
LOT 216
A PAIR OF LOUIS XV/XVI TRANSITIONAL ORMOLU-MOUNTED AMARANTH
AND SATINWOOD TABLES EN CHIFFONNIÈRE
CIRCA 1774, ONE BEARING THE STAMP P. PIONIEZ
74.5 cm; 48.5 cm; 37 cm

PROVENANCE
P.J. Walsh & Sons Auction House, Dublin, late 19th century
Christie's London, June 9, 1924, lot 23
New York | 19 Apr 2012, 10:00 AM | N08891
LOT 217
AN ITALIAN BAROQUE PIETRE DURE, MOTHER-OF-PEARL AND MARBLE-
INLAID PANEL IN THE MANNER OF COSIMO FANZAGO, ON AN ITALIAN
BAROQUE STYLE CARVED GILTWOOD STAND
THE PANEL NAPLES,&NBSP;LATE 17TH CENTURY, THE STAND 19TH
CENTURY
81 cm; 114.5 cm; 77.5 cm

CATALOGUE NOTE
This richly inlaid panel belongs to a group of Baroque commessi and altar fronts which were produced in Naples by
marmorari, followers of the celebrated Cosimo Fanzago (1591-1678), architect and sculptor, considered to be one of
the greatest of the Baroque period in Naples. Fanzago's work is recorded in many local churches, with probably the
best example of his triumphal intarsia work being in the Certosa di San Martino. Fanzago's oeuvre can be
characterized by the use of not only an astonishing variety of different marbles and stones, but also by the inclusion of
mother-of-pearl; a combination of materials which was also used in this panel. Although the design of this panel is
clearly inspired by Florentine models, the overall composition and the choice of materials and their inlay point to a
Neapolitan origin. The clearly centralized design supplemented by lush foliage, blooming flower heads and birds
relates to a pair of table tops also incorporating mother-of-pearl and a wide array of colorful stones and marbles, sold
Sotheby's London, July 6, 2011, lot 11.
New York | 19 Apr 2012, 10:00 AM | N08891
LOT 218
A LOUIS XV ORMOLU AND POLYCHROME-PAINTED METAL-MOUNTED
MEISSEN PORCELAIN FIGURE OF A TURKISH LADY
CIRCA&NBSP;1750&NBSP;
The figure possibly associated.
height 10 in.
25.5 cm

New York | 19 Apr 2012, 10:00 AM | N08891
LOT 219
A PAIR OF LOUIS XV STYLE GILT BRONZE AND MEISSEN PORCELAIN TWO-
LIGHT CANDELABRA
LATE 19TH CENTURY

height 12 3/4 in.; widths 10 3/4 in. and 11 3/4 in.
32.5 cm; 27.5 cm; 30 cm

New York | 19 Apr 2012, 10:00 AM | N08891
LOT 220
A LOUIS XV STYLE ORMOLU-MOUNTED CONTINENTAL PORCELAIN
CENTERPIECE
19TH CENTURY
44.5 cm; 26 cm

New York | 19 Apr 2012, 10:00 AM | N08891
LOT 221
A PAIR OF LOUIS XV STYLE ORMOLU-MOUNTED CELADON PORCELAIN
MELON-SHAPED VASES
19TH CENTURY
height 10 3/4 in.
27.5 cm

New York | 19 Apr 2012, 10:00 AM | N08891
LOT 222
A LOUIS XVI ORMOLU-MOUNTED AND BRASS-INLAID MAHOGANY TABLE
EN CHIFFONNIÈRE
CIRCA 1780, STAMPED P. ROUSSEL
Pierre Roussel (1723-1782), maître in 1745
75 cm; 41 cm

New York | 19 Apr 2012, 10:00 AM | N08891
LOT 223
A PAIR OF LOUIS XVI CARVED GILTWOOD CONSOLES D'APPLIQUE
CIRCA 1775, REDUCED IN HEIGHT
91.5 cm; 55 cm; 26.5 cm

PROVENANCE
Paris, July 6, 1996, lot 118
New York | 19 Apr 2012, 10:00 AM | N08891
LOT 224
A LOUIS XV PARCEL-GILT AND CREAM-PAINTED THERMOMETER AND
BAROMETER
CIRCA 1745-50, SIGNED SOLEIL OPTICIEN RUE DE L'ODÉON À PARIS,
REDECORATED IN THE MID-19TH CENTURY
140 cm; 43.5 cm

PROVENANCE
Executed for Comte Jean-François Rogier de Ludes (1699-1759)
CATALOGUE NOTE
A prominent member of one of the most illustrious families in the Champagne region, Comte Jean-François Rogier de
Ludes (1699-1759) was adviser to Louis XV between 1750 and 1759.
New York | 19 Apr 2012, 10:00 AM | N08891
LOT 225
A PAIR OF LOUIS XIV ORMOLU CHENETS
CIRCA 1710
height 18 in.
46 cm
PROVENANCE
CATALOGUE NOTE
Another pair of chenets of this very rare model from the Château de Parentignat was sold Christie's Paris, June 21,
2006, lot 369. Another pair, but with different bases, is in The Metropolitan Museum of Art, New York, illustrated N.
Hoentschel, "Georges Hoentschel," 1999, p. 218.
The chenets represent fire and air. The female figure, representing Fire is now lacking the brazier and a salamander.
A pair of chenets corresponding to this description was sold from the collection of the duc de Tallard, Paris, March 22 -
May 13, 1756, lot 1019: "1019: autre feu, orné de deux figures assis sur des piédestaux, accompagnées, L'une d'un
phoenix, + l'autré d'un salamandre, attributs du feu. Il est pareillement doré d'or moulu, ainsi que les bronzes suivants.
421 l."
Marie-Joseph d'Hostun (1684-1755), who became duc d'Hostun (de Tallard) in 1713 and governor of Besançon in
1720, married Marie-Elizabeth de Rohan Soubise in 1713. Their hôtel particulier rue du Grand Chantier in the Marais
was widely admired and featured in the 1749 Memorial de Paris guide where it was described as a "magnifique hôtel."
His collection, sold following his death in 1756, comprised notable Italian paintings as well as a large collection of
Antique marble vases, columns and table tops.
These chenets are also comparable to a model sold in the Duc d'Auvmont sale in 1782 as lot 360: "Un feu, modele
de Boule,à figures assises sur un tronc d'arbre, dont un côté représente Jupiter avec un Aigle et trépied; l'autre Junon;
avec un Paon; placée chacune sur un pied carré long, cintré sur les bouts, les panneaux travaillés en broderies d'un
genre singulier, dégagé à jour par bas, et supporté par quatre boules, gaine et rosettes." The plinth appeared to be
different, but the description of the figures and the composition are the same. A pair of very similar chenets were sold
as lot 67 in the Baron James de Rothschild sale in Paris on December 1, 1966.
New York | 19 Apr 2012, 10:00 AM | N08891
LOT 226
A GERMAN ROCOCO CARVED GILTWOOD FIRE SCREEN
MID-18TH CENTURY
upholstered à châssis with gros-point and petit-point wool and silk needlework panel,
probably French, circa 1700.
136 cm; 82.5 cm

New York | 19 Apr 2012, 10:00 AM | N08891
LOT 227
late 19th century
CATALOGUE NOTE
Please see pages 346-347 and 350 for illustrations of this lot.
New York | 19 Apr 2012, 10:00 AM | N08891
LOT 228
A SET OF FOUR LOUIS XV CARVED GILTWOOD FAUTEUILS
CIRCA 1750, TWO STAMPED I. POTHIER
Jean-Jacques Pothier, maître in 1750
height 36 in.
91.5 cm

PROVENANCE
Comtesse de Pimodan, sold, Poulain LeFur, Paris, December 9, 1999
New York | 19 Apr 2012, 10:00 AM | N08891
LOT 229
A PAIR OF LOUIS XVI ORMOLU-MOUNTED BLUE GLASS VASES
THE ORMOLU CIRCA 1780
height 22 1/2 in.
57.5 cm

New York | 19 Apr 2012, 10:00 AM | N08891
LOT 230
A LOUIS XVI ORMOLU-MOUNTED BLUE SÈVRES PORCELAIN MANTEL
CLOCK, THE MOUNTS IN THE MANNER OF ÉTIENNE MAURICE FALCONET
CIRCA 1775, THE MOVEMENT SIGNED MARTIN A PARIS
55 cm; 28 cm

PROVENANCE
Probably sold from the collection of Sir George Lindsay Holford, Christie Manson & Woods, London, July 13-14, 1927,
lot 200
LITERATURE
G. de Bellaigue, The James A. de Rothschild Collection at Waddesdon Manor, Furniture, Clocks and Gilt Bronzes, Vol
II, Fribourg, 1974, p. 774
CATALOGUE NOTE
A pair of Louis XVI ormolu-mounted Chinese blue porcelain vases, with almost identical mounts in the form of sirens
or "figures en arabesques," was sold from the Alexander Collection, Christie's New York, April 30, 1999, lot 95. Such
figures are characteristic of the work of the ciseleur-doreur François Rémond, particularly in work carried out for the
marchand-mercier Daguerre.
Another vase clock of this form, the body in green Sèvres porcelain with movement by Lepaute, was sold from the
collection of Madame C. Lelong, Galerie Georges Petit, Paris, May 11-15, 1903, lot 866 (P. Kjellberg, Encyclopédie de
la Pendule Française, Paris, 1997, p. 214). Two other vases of this form, without clocks, are known. One, in blue
Chinese porcelain at Waddesdon, is illustrated G. de Bellaigue, The James A. de Rothschild Collection at Waddesdon
Manor: Furniture, Clocks and Gilt Bronzes, Vol. II, Fribourg, 1974, no. 208, pp. 774-5. The other, somewhat larger,
from the Sneyd heirlooms, was sold Christie's London, June 26, 1924, lot 96.
New York | 19 Apr 2012, 10:00 AM | N08891
LOT 231
A LOUIS XV ORMOLU-MOUNTED BOIS SATINÉ, AMARANTH, FRUITWOOD
AND MARQUETRY COMMODE
CIRCA 1760, STAMPED P. GARNIER, PARTIALLY REMOUNTED
Pierre Garnier (c.1720-1800), maître in 1742
85.5 cm; 116 cm; 66 cm
LITERATURE
C. Huchet de Quénetain, Pierre Garnier, Paris, 2003, pp. 120 and 185-186., no. 180
New York | 19 Apr 2012, 10:00 AM | N08891
LOT 232
A RARE AND IMPORTANT LOUIS XIV SCAGLIOLA-INLAID, PART-EBONIZED
BURR WALNUT AND FRUITWOOD MARQUETRY ARMOIRE, BY THOMAS
HACHE
CIRCA 1695
227.5 cm; 157.5 cm; 65 cm
ESTIMATE 200,000-300,000 USD
PROVENANCE
Camille Burgi, Paris
LITERATURE
Pierre Rouge and Françoise Rouge, Le genie des Hache, Dijon, 2005, illustrated, pp. 92-93
CATALOGUE NOTE
The present lot belongs to a group of armoires by Thomas Hache that incorporate the figure of trumpeting Mercury in
its elaborate marquetry decoration. Within this group, this lot belongs to a much smaller subgroup of armoires fitted
with a long and narrow drawer in the lower section. Besides the present example, only one such armoire by Hache is
known; see Pierre Rouge and Françoise Rouge, Le genie des Hache, Dijon, 2005, pp. 78-79. The figures of Mercury
on this piece are supplemented by roosters in the upper cartouches that could be viewed as the allegories of France
or, more likely, the attributes of Mercury as the chariot of the messenger of the gods was believed to be drawn by
these birds. The interlaced Rs surmounted by a wreath underneath the flowering vases, which show the strong
influence of Pierre Gole's oeuvre on Hache's activity, present the hypothesis that this piece could have been an
"armoire de mariage."
THOMAS HACHE (1664-1747)
Thomas was the paterfamilias of the Hache cabinet-making dynasty. He arrived in Grenoble around 1695 and in 1699
he married the daughter of Michel Chevallier, a Grenoblois cabinet-maker whose workshop had been established in
the last decade of the 17th century. Thomas was not only a talented ébéniste, but also an astute administrator and
businessman who instituted an efficient practice of division of labor which he had probably observed in Parisian
workshops. He entrusted the most elaborate of his marquetry panels to his most talented craftsmen, and he had these
panels made in advance; in this manner they could be presented to clients who would then select their preference
based upon design and price. The undoubted quality of his production, together with the efficient manner in which it
was manufactured, made for a very successful enterprise which Thomas was able to pass on to his sons Pierre and
Jean-François.
New York | 19 Apr 2012, 10:00 AM | N08891
LOT 233
A LOUIS XV ORMOLU-MOUNTED TULIPWOOD, KINGWOOD AND
MARQUETRY WRITING TABLE
79 cm; 47 cm; 43.5 cm

New York | 19 Apr 2012, 10:00 AM | N08891
LOT 234
A LOUIS XV STYLEORMOLU-MOUNTED FRUIT WOOD AND MARQUETRY
67 cm; 26 cm; 31.5 cm

New York | 19 Apr 2012, 10:00 AM | N08891
LOT 235
A PAIR OF LOUIS XVI CARVED GILTWOOD BERGÈRES
CIRCA 1780, STAMPED LEXCELLANT.
Nicolas Lexcellant (d.c. 1788), maître in 1764
height 39 1/4 in.
100 cm

PROVENANCE
Maître Ader, Paris, November 29, 1977, lot 166
New York | 19 Apr 2012, 10:00 AM | N08891
LOT 236
A SET OF FOUR LOUIS XVI CARVED GILTWOOD FAUTEUILS
CIRCA 1785, THREE STAMPED N. LEXCELLANT
Nicolas Lexellant (d.c.1788), maître in 1788
height 36 1/2 in.
93 cm

PROVENANCE
Ader, Paris, November 29, 1977, lot 166
New York | 19 Apr 2012, 10:00 AM | N08891
LOT 237
A LOUIS XV ORMOLU-MOUNTED CHINESE CELADON TEAPOT FLANKED BY
TWO MEISSEN PORCELAIN FIGURES OF SWANS
MID-18TH CENTURY
25.5 cm; 20.5 cm

New York | 19 Apr 2012, 10:00 AM | N08891
LOT 238
A LOUIS XVI ORMOLU-MOUNTED BOIS SATINÉ, AMARANTH, FRUITWOOD
AND PARQUETRY AND MARQUETRY SECRÉTAIRE
CIRCA 1780, STAMPED E. LEVASSEUR
Etienne Levasseur (1721-1798), maître in 1766
133 cm; 74 cm; 36 cm
ESTIMATE 150,000-250,000 USD

New York | 19 Apr 2012, 10:00 AM | N08891
LOT 239
A LOUIS XV STYLE ORMOLU MIRROR, AFTER JUSTE-AURELE MEISSONNIER

77.5 cm; 52.5 cm
PROVENANCE
New York | 19 Apr 2012, 10:00 AM | N08891
LOT 240
A PAIR OF LOUIS XV ORMOLU ORNAMENTAL BRACKETS
MID-18TH CENTURY
each mounted with a Meissen porcelain figure of Cupid in disguise.
35.5 cm; 20.5 cm

New York | 19 Apr 2012, 10:00 AM | N08891
LOT 241
A SET OF FOUR GERMAN PORCELAIN MINIATURE ROCOCO VASES
CIRCA 1750-60
height 4 1/8 in.
10.5 cm

New York | 19 Apr 2012, 10:00 AM | N08891
LOT 242
A LOUIS XV PORCELAIN, ORMOLU AND GILT AND BLACK LACQUER
ENCRIER
MID-18TH CENTURY
length 13 1/4 in.; width 10 1/2 in.
34 cm; 27 cm

Lot Sold: 8,125 USD
New York | 19 Apr 2012, 10:00 AM | N08891
LOT 243
AN ITALIAN ROCOCO PARCEL-GILT, POLYCHROME-PAINTED AND CARVED
CHAIR
PIEDMONT, CIRCA 1760
height 42 1/4 in.
107.5 cm

Lot Sold: 6,250 USD
CATALOGUE NOTE
An identical chair from a set of six from a Turin private collection is illustrated Vittorio Viale ed., La Mostra del Barocco
Piemontese: Pittura, Scultura, Arazzi. Palazzo Madama, Palazzo Reale, Palazzina di Stupinigi, Turin, 1963, Tav. 168.
New York | 19 Apr 2012, 10:00 AM | N08891
LOT 244
A LOUIS XV BLUE AND WHITE-PAINTED AND CARVED DUCHESSE BRISÉE
MID-18TH CENTURY, STAMPED I. AVISSE
Jean Avisse (1723-after 1796), maître in 1745
104.5 cm; 206 cm
CATALOGUE NOTE
Please see page 394 for an additional illustration of this lot.
New York | 19 Apr 2012, 10:00 AM | N08891
LOT 245
A LOUIS XV STYLE CARVED GILTWOOD FIRE SCREEN
19TH CENTURY
upholstered à châssis with heavily embroidered silk panel worked in polychrome silk and
silver metal thread, probably French or Italian, circa 1700.
102.5 cm; 75 cm

CATALOGUE NOTE
For a basically identical 18th-century carved beechwood fire screen attributed to Nicolas Heurtaut, see Bill Pallot,
L'Art du Siège au XVIIIe Siècle en France, Paris, 1987, pp. 161-162.
New York | 19 Apr 2012, 10:00 AM | N08891
LOT 246
A PAIR OF LOUIS XV STYLE ORMOLU CHENETS
MID-19TH CENTURY
height 18 in.
46 cm

New York | 19 Apr 2012, 10:00 AM | N08891
LOT 247
A LOUIS XV AMARANTH WRITING TABLE À ÉCRIRE
CIRCA 1760, STAMPED RUBESTUCK
François Rübestück (c.1722-1785), maître in 1766
70 cm; 65.5 cm; 44.5 cm

New York | 19 Apr 2012, 10:00 AM | N08891
LOT 248
A RUSSIAN NEOCLASSICAL STEEL-MOUNTED MACASSAR EBONY
DRESSING TABLE
PROBABLY TULA, SECOND QUARTER 19TH CENTURY
with matching dressing mirror, the mirror with stencilled number 107, the table with 611 or
119.
72.5 cm; 50.5 cm; 32 cm

New York | 19 Apr 2012, 10:00 AM | N08891
LOT 249
A LOUIS XV ORMOLU MANTEL CLOCK
CIRCA 1750, THE DIAL SIGNED JULIEN LE ROY AU GALLERIE DU LOUVRE,
THE MOVEMENT SIGNED JULIEN LE ROY A PARIS
41 cm; 27 cm; 15.5 cm

New York | 19 Apr 2012, 10:00 AM | N08891
LOT 250
A LOUIS XV ORMOLU-MOUNTED KINGWOOD, BOIS SATINÉ, TULIPWOOD
AND PARQUETRY COMMODE
CIRCA 1745-49, STAMPED TWICE&NBSP;M. CRIAERD, THE ORMOLU
STRUCK WITH&NBSP;THE "C" COURONNÉ POINÇON
Mathieu Criaerd (1689-1776), maître in 1738
87 cm; 131 cm; 57.5 cm
ESTIMATE 120,000-180,000 USD
PROVENANCE
Palais Galliera, Paris, November 29, 1973
CATALOGUE NOTE
A slightly smaller commode by Mathieu Criaerd with identical ormolu corner and drawer mounts and sabots but
with small differences to the apron and its mount was sold Sotheby's London, June 25, 1982, lot 74.
New York | 19 Apr 2012, 10:00 AM | N08891
LOT 251
A LOUIS XV ORMOLU-MOUNTED AMARANTH AND TULIPWOOD BUREAU
PLAT
MID-18TH CENTURY, STAMPED TWICE&NBSP;A. CRIAERD JME
Antoine Criaerd, active between 1720 and 1750
75 cm; 147.5 cm; 77.5 cm

New York | 19 Apr 2012, 10:00 AM | N08891
LOT 252
A MATCHED PAIR OF LOUIS XVI CARVED GILTWOOD CONSOLE TABLES
CIRCA 1780, ONE STAMPED J. F. LELEU JME
one later parcel-painted to resemble rosewood.
Jean-François Leleu (1729-1807), maître in 1764
71.5 cm; 63 cm; 30.5 cm
ESTIMATE 120,000-180,000 USD

PROVENANCE
One console formerly in the collection of M. and Mme. Delplace, Brussels, Sotheby's Monaco, June 15, 1996, lot 98
CATALOGUE NOTE
These console tables were probably conceived not as an exact pair but rather as en suite companion pieces as
indicated by the slight variation of the side compartments. Originally both gilt, they were most likely intended for the
same interior where each piece had its own distinct function while still blending seamlessly into the overall decoration
due to their identical shapes and decoration. However, it is also possible that Leleu executed a number of tables of
this model with minute differences, possibly to follow the specific wishes of his clients, and these two tables were
paired up at a later date. Decorated with very finely rendered rinceaux, rosettes and guilloche-like friezes composed of
interlaced circles, but raised on baluster legs and hung with lush garlands, these console tables are early, yet
characteristic products of the goût étrusque of the 1780s.
JEAN-FRANÇOIS LELEU (1729-1807)
Along with Jean-Henri Riesener, Jean-François Leleu apprenticed in the workshop of Jean-François Oeben. After
Oeben's death and Riesener marrying Oeben's widow, Leleu left the atelier to obtain his letters of maîtrise and set up
his workshop first in the Chaussée de la Cointrescarpe and then on the rue Royale. He became almost instantly
successful and his clients included the Prince de Condé, Madame du Barry, Baron d'Ivry and the Marquis de Marigny.
New York | 19 Apr 2012, 10:00 AM | N08891
LOT 253
A WATCH-MOUNTED GILT-METAL, PASTE, VERRE ÉGLOMISÉ AND AGATE
CASKET, CHINESE
opening to a verre églomisé panel and loose gilt-metal tray stamped with a Chinese
character; the watch movement signed Raelle / Paris. The case most probably originally
fitted with a musical movement.
15.9 cm; 14 cm; 10.2 cm

CATALOGUE NOTE
The present casket mounted with a French watch movement circa 1780, and fitted with a verre églomisé panel was
most probably fitted with a musical movement to the interior as it has a hole to the back probably to access the winder
as well as a hole to one of the concave canted corners, possibly for a pull release. The pierced foliate panel to the
underside also suggests that the casket housed a musical movement so that the sound could escape.
The present casket is very similar to a group of caskets which have been identified as both English and Chinese
including a pair of caskets which are mounted in agate (Howard, op. cit. cat. No. 307, p. 226) and a single one in the
collection of the Palace Museum in the Forbidden City, which has an additional base and fitted musical interior (The
Complete Collection of Treasures of the Palace Museum, op. cit., cat no. 186, p. 211). It is mostly like that they
caskets were all made in the last quarter of the 18th century. Considering the taste in Europe at this time was for
neoclassical style things, the use of rococo as well as neoclassical motifs intermingled with some Chinese decorations
assumes that the caskets were probably made for the Chinese market and not for export to Europe, especially when
one considers the similar style of the magnificent automata clocks and objects including an almost identical casket
with musical works found in the Imperial Collection. Furthermore, whilst these pieces are in the manner of James Cox
(Smith, op. cit., pp. 353-361), the quality and handling of the materials does not appear to be English or European.
Therefore, it is possible to conclude that these pieces were made in China for the Chinese market possibly imitating
some of the most exquisite pieces by Cox executed in agate, ormolu and gold.
See:
Clare Le Corbeiller, 'James Cox: a Biographical Review,' The Burlington Magazine, Vo. 112, No. 807, June 1970
David S. Howard, A Tale of Three Cities, Canton, Shanghai & Hong Kong, Sotheby's, London, 1997
Roger Smith, 'James Cox (c.1723-1800): A Revised Biography,' The Burlington Magazine, Vol. 142, No. 1167, June,
2000
Scientific and Technical Instruments of the Qing Dynasty, The Complete Collection of Treasures of the Palace
Museum, Hong Kong, 1998
New York | 19 Apr 2012, 10:00 AM | N08891
LOT 254
A LOUIS XVI GILT-TOOLED LEATHER BOX
monogrammed A.V.
5 cm; 26 cm; 19 cm

New York | 19 Apr 2012, 10:00 AM | N08891
LOT 255
A LOUIS XIV GILT-TOOLED LEATHER BOX

6.5 cm; 30 cm; 20.5 cm

New York | 19 Apr 2012, 10:00 AM | N08891
LOT 256
A PAIR OF IMPORTANT ITALIAN BAROQUE PARCEL-GILT EBONIZED AND
CARVED CONSOLE TABLES
ROME, CIRCA 1700
98 cm; 124.5 cm; 61 cm
ESTIMATE 300,000-500,000 USD

CATALOGUE NOTE
Enrico Colle (Il mobile Barocco in Italia, Milan, 2000, no. 30, pp. 132-133) illustrates and discusses a related console
table with the apron centered by a putto and described as Roman, late 17th/early 18th century. The table
is conceived in a similar form to the present one, though presented with a cabinet on stand, which Colle states were
executed in Rome in the 17th and 18th century after tracing back the ideas drawn by architects and decoration formed
in the school of Bernini.
For a comparable Roman composition, which shows as well the strong influence of sculptors on Roman Baroque
furniture, see a related stand surmounted by a parcel-gilt cabinet modelled with a central supporting figure in carved
and gilded limewood, formerly in the collection of Prince Cesare Ludocivo in Rome, and donated to The Metropolitan
Museum of Art by Mme. Lilliana Terruzi (accession no. 1972-73).
These monumental and impressive tables were most probably originally conceived as stands for cabinets and can be
dated to around 1700. Each with a serpentine-fronted, velvet-covered loose top, these consoles with their rich
ornamentation and exuberantly sculpted foliage and putti, are characteristic of the grandeur of Italian baroque
interiors, most definitely created for a palazzo, and most probably to conform to their architectural surroundings.
Furniture of this type recalls the Venetian sculptors Andrea Brustolon (1662-1732), and Antonio Coradini (1668-1752)
and the Genoese master Filippo Parodi (1630-1702), a pupil of Bernini, although at the time, names were not really
recorded. These tables are very Roman in their conception, with their ebonizing and parcel-gilt highlights. Executed in
the late 17th/early 18th century, they reflect the ideas drawn by architects and decoration formed in the school of
Bernini.
New York | 19 Apr 2012, 10:00 AM | N08891
LOT 257
A MATCHED PAIR OF LOUIS XIV BRASS AND TORTOISESHELL-INLAID
EBONY SOCLES
CIRCA 1710
heights 9 1/4 in., 9 1/2 in.; widths 11 1/2 in.; depths 10 1/2 in., 11 1/2 in.
23.5 cm, 24 cm; 29.5 cm; 27 cm, 29.5 cm

EXHIBITED
Rijksmuseum, Amsterdam, 1935 (smaller of the two)
CATALOGUE NOTE
A pair of highly comparable socles stamped E. Levasseur and executed in première partie Boulle marquetry was sold
Christie's London, June 14, 1990, lot 44. A similar pair, mounted with lion masks, was also included in the Lebrun sale
on April 11, 1791.
New York | 19 Apr 2012, 10:00 AM | N08891
LOT 258
A NAPOLEON III AUBUSSON TAPESTRY PANEL, FRANCE
circa 1875

Lot Sold: 3,125 USD
New York | 19 Apr 2012, 10:00 AM | N08891
LOT 259
A NAPOLEON III AUBUSSON TAPESTRY PANEL, FRANCE
circa 1875

New York | 19 Apr 2012, 10:00 AM | N08891
LOT 260
circa 1865
Monogram D.A. in all four corners.
approximately 18 ft. by 14 ft. 9 in. (5.49 by 4.50 m)

New York | 19 Apr 2012, 10:00 AM | N08891
LOT 261
A NORTH ITALIAN GILT BRONZE AND PORCELAIN-MOUNTED, PARCEL-GILT
AND POLYCHROME-PAINTED GUÉRIDON

91.5 cm; 70 cm

Lot Sold: 5,000 USD
New York | 19 Apr 2012, 10:00 AM | N08891
LOT 262
A PAIR OF ITALIAN ROCOCO LACCA A MECCA MUSIC STOOLS
NAPLES OR SICILY, MID-18TH CENTURY

65.5 cm; 56.5 cm; 44.5 cm

New York | 19 Apr 2012, 10:00 AM | N08891
LOT 263
A LOUIS XVI CARVED GILTWOOD BERGÈRE EN GONDOLE
struck beneath the seat rail with a crown and fleur de lys.
height 33 1/2 in.
85.5 cm

New York | 19 Apr 2012, 10:00 AM | N08891
LOT 264
A LOUIS XV CARVED GILTWOOD VEILLEUSE
CIRCA 1750, STAMPED ST. GEORGES
Jean-Etienne Saint-Georges (1723-1790), maître in 1747
102 cm; 170.5 cm

PROVENANCE
Possibly Sotheby's Monaco, June 16, 1994, lot 300
LITERATURE
Pierre Kjellberg, Le mobilier français du XVIIIe siècle, Paris, 2002, p. 809, fig. a
New York | 19 Apr 2012, 10:00 AM | N08891
LOT 265
A LOUIS XV/XVI TRANSITIONAL GREEN AND CREAM-PAINTED AND CARVED
BERGÈRE EN GONDOLE
CIRCA 1770
height 32 1/2 in.
83 cm

New York | 19 Apr 2012, 10:00 AM | N08891
LOT 266
A PAIR OF LOUIS XIV ORMOLU CHENETS
CIRCA 1700
height 14 3/4 in.
37.5 cm

PROVENANCE
New York | 19 Apr 2012, 10:00 AM | N08891
LOT 267
A PAIR OF SPANISH NEOCLASSICAL CUT GLASS-MOUNTED GILT-METAL
TWELVE -LIGHT CHANDELIERS
EARLY 19TH CENTURY
height approximately 51 in.; diameter approximately 34 1/2 in.
129.5 cm; 88 cm

New York | 19 Apr 2012, 10:00 AM | N08891
LOT 268
A PAIR OF LOUIS XV CARVED GILTWOOD FAUTEUILS
CIRCA 1750, STAMPED TILLIARD
Jacques Jean-Baptiste Tilliard (1723-1797), maître in 1752
height 36 1/2 in.
93 cm

PROVENANCE
New York | 19 Apr 2012, 10:00 AM | N08891
LOT 269
A RÉGENCE ORMOLU-MOUNTED AND BRASS-INLAID AMARANTH
COMMODE
CIRCA 1715
83 cm; 141 cm; 64.5 cm

New York | 19 Apr 2012, 10:00 AM | N08891
LOT 270
CIRCA 1720
199.5 cm; 119.5 cm

New York | 19 Apr 2012, 10:00 AM | N08891
LOT 271
CIRCA 1715
193.5 cm; 104.5 cm

New York | 19 Apr 2012, 10:00 AM | N08891
LOT 272
A LOUIS XV STYLE CARVED GILTWOOD TRUMEAU
19TH CENTURY
138 cm; 89.5 cm

New York | 19 Apr 2012, 10:00 AM | N08891
LOT 273
CIRCA 1770, THE DIAL SIGNED KINABLE&NBSP;À PARIS
49.5 cm; 24.5 cm; 19 cm
PROVENANCE
Cornet de Saint Cyr, Paris, March 13, 1987, lot 69
New York | 19 Apr 2012, 10:00 AM | N08891
LOT 274
A LOUIS XV ORMOLU CARTEL CLOCK
CIRCA 1755
63 cm; 41 cm; 10.5 cm

New York | 19 Apr 2012, 10:00 AM | N08891
LOT 275
A LOUIS XIV CARVED GILTWOOD CONSOLE TABLE
CIRCA 1710
81 cm; 95.5 cm; 48.5 cm

New York | 19 Apr 2012, 10:00 AM | N08891
LOT 276
A RÉGENCE CARVED GILTWOOD CONSOLE TABLE
CIRCA 1720
81.5 cm; 135 cm; 56 cm

New York | 19 Apr 2012, 10:00 AM | N08891
LOT 277
70 cm; 89 cm; 46 cm

Lot Sold: 8,125 USD
PROVENANCE
Sotheby's New York, Collection of Mr. and Mrs. Saul P. Steinberg, May 26, 2000, lot 263
New York | 19 Apr 2012, 10:00 AM | N08891
LOT 278
A PAIR OF LOUIS XV GREEN AND CREAM-PAINTED BERGÈRES À OREILLES
CIRCA 1760, ONE STAMPED AVISSE
Jean Avisse (1723-after 1796), maître in 1745
height 34 3/4 in.
88.5 cm

New York | 19 Apr 2012, 10:00 AM | N08891
LOT 279
A LOUIS XVI ORMOLU AND EBONY MANTEL CLOCK
CIRCA 1780, THE DIAL AND MOVEMENT SIGNED GME. DUBOIS A PARIS
39.5 cm; 33 cm; 12 cm

New York | 19 Apr 2012, 10:00 AM | N08891
LOT 280
A PAIR OF LOUIS XV STYLE GILT BRONZE CHENETS
height 12 3/4 in.
32.5 cm
PROVENANCE
New York | 19 Apr 2012, 10:00 AM | N08891
LOT 281
upholstered à châssis with woven silk worked with metal thread, the side bands with
polychrome silk with metal thread details on self-figured ground and with gold galloon trim,
European and possibly from a chasuble, 19th century.
90.5 cm; 62 cm

New York | 19 Apr 2012, 10:00 AM | N08891
LOT 282
A CHARLES X AUBUSSON FRAGMENTARY CARPET, FRANCE
circa 1825
CATALOGUE NOTE
New York | 19 Apr 2012, 10:00 AM | N08891
LOT 283
A PAIR OF LOUIS XVI STYLE ORMOLU-MOUNTED SÈVRES STYLE VASES
CIRCA 1900
height 16 1/2 in.
42 cm

Lot Sold: 4,063 USD
New York | 19 Apr 2012, 10:00 AM | N08891
LOT 284
A LOUIS XVI ORMOLU-MOUNTED TULIPWOOD, AMARANTH AND
PARQUETRY BUREAU À CYLINDRE
CIRCA 1770, ATTRIBUTED TO RVLC
164 cm; 100 cm; 61 cm

New York | 19 Apr 2012, 10:00 AM | N08891
LOT 285
A LOUIS XV CARVED BEECHWOOD FAUTEUIL DE BUREAU
MID-18TH CENTURY
height 35 3/4 in.
91 cm

Lot Sold: 9,375 USD
New York | 19 Apr 2012, 10:00 AM | N08891
LOT 286
A LOUIS XV CARVED GILTWOOD BERGÈRE
CIRCA 1750, STAMPED BAUVE
Mathieu Bauve (d.c.1786), maître in 1754
height 38 3/4 in.
98.5 cm

New York | 19 Apr 2012, 10:00 AM | N08891
LOT 287
A LOUIS XV TULIPWOOD, AMARANTH AND PARQUETRY ARMOIRE
MID-18TH CENTURY, STAMPED TWICE&NBSP;I. DUBOIS JME
Jacques Dubois (c.1693-1763), maître in 1742
192 cm; 81 cm; 58.5 cm

New York | 19 Apr 2012, 10:00 AM | N08891
LOT 288
AN ITALIAN ROCOCO TULIPWOOD AND AMARANTH COMMODINO
NAPLES, CIRCA 1755, BEARING THE STAMP I. DUBOIS.
75 cm; 57.5 cm; 41 cm

New York | 19 Apr 2012, 10:00 AM | N08891
LOT 289
A PAIR OF NORTH GERMAN BAROQUE GILTWOOD OVAL MIRRORS IN THE
MANNER OF BURCHARD PRECHT

65 cm; 49 cm

CATALOGUE NOTE
Burchard Precht (1651-1738) was a sculptor and cabinet-maker from Bremen and was educated in Hamburg by his
brother Christian Precht (1999-1774). He then went to Stockholm in 1674, to work at Drottningholm Palace where he
created a Royal bedchamber. In 1681, he was recommended for the position of royal cabinet-maker and sculptor by
the Royal architect N. Tessin, the Younger. He was very influential in his time and was instrumental in disseminating
the Swedish baroque style, also called Precht style, which had absorbed French and Italian influences.
New York | 19 Apr 2012, 10:00 AM | N08891
LOT 290
A SOUTH GERMAN ROCOCO PARCEL-GILT, POLYCHROME-PAINTED AND
CARVED MIRROR
FRANCONIA, PROBABLY BAMBERG, CIRCA 1745

87 cm; 64.5 cm

New York | 19 Apr 2012, 10:00 AM | N08891
LOT 291
A LATE LOUIS XVI PARCEL-GILT, CREAM-PAINTED AND CARVED FIRE
SCREEN
CIRCA 1790
upholstered with striped and figured woven silk within gold galloon trim, European and
possibly from a chasuble, circa 1770.
97 cm; 63.5 cm

New York | 19 Apr 2012, 10:00 AM | N08891
LOT 292
CIRCA 1775, STAMPED C. CHEVIGNY.
Claude Chevigny, maître in 1768
height 33 1/2 in.
85.5 cm

New York | 19 Apr 2012, 10:00 AM | N08891
LOT 293
A LOUIS XVI KINGWOOD, SYCAMORE, FRUITWOOD AND MARQUETRY
SECRÉTAIRE
ADAPTED,&NBSP;STAMPED J. DAUTRICHE
Jacques van Oostenrijk dit Dautriche (d. 1778), maître in 1765
143.5 cm; 98 cm; 38.5 cm

New York | 19 Apr 2012, 10:00 AM | N08891
LOT 294
CIRCA 1775, THE DIAL SIGNED CASTAGNET A PARIS AND COTEAU
65 cm; 34 cm; 21 cm

LITERATURE
Pierre Kjellberg, Encyclopédie de la Pendule Française: Du Moyen Age au XXe siècle, Paris, 1997, p. 222
CATALOGUE NOTE
The movement of this unique mantel clock was supplied by Jacques-Joseph Castagnet (c.1730-c.1804), the Parisan
clockmaker, who worked in his atelier on the rue Saint-Martin. He was elected maître-horloger in 1776. He was among
the most well respected clockmakers of his time as his appointment as député of his guild in 1779 and a syndic in
1786 shows. Among the few clocks recorded by Castagnet is the present lot.
Joseph Coteau (1740-1812) was among the most distinguished enamellers in Paris at his time and was well known for
his fine clock faces and dials. Among his clients were Robert Robin and Ferdinand Berthoud, both of whom supplied
clocks to the Garde Meuble. Originally from Geneva, Coteau worked in Paris after being elected maître in 1778.
Between 1780 and 1784 he also worked at the Sèvres porcelain manufactory.
New York | 19 Apr 2012, 10:00 AM | N08891
LOT 295
A PAIR OF RÉGENCE ORMOLU CHENETS
CIRCA 1715
height 15 3/4 in.
40 cm

New York | 19 Apr 2012, 10:00 AM | N08891
LOT 296
A LOUIS XVI STYLE AUBUSSON CARPET, FRANCE
circa 1880
approximately 14 ft.10 in. by 11 ft.1 in. (4.52 by 3.38 m)

New York | 19 Apr 2012, 10:00 AM | N08891
LOT 297
A LOUIS XV CREAM-PAINTED AND CARVED FAUTEUIL DE BUREAU
MID-18TH CENTURY, STAMPED N.T. PORROT
Noël Toussaint Porrot, maître in 1761
height 33 3/4 in.
86 cm

New York | 19 Apr 2012, 10:00 AM | N08891
LOT 298
AN ITALIAN ROCOCO PARCEL-GILT, WHITE-PAINTED AND CARVED SOFA
LOMBARDY, MID-18TH CENTURY
95.5 cm; 198.5 cm

New York | 19 Apr 2012, 10:00 AM | N08891
LOT 299
A PAIR OF LOUIS XVI STYLE GILT BRONZE-MOUNTED RED MARBLE VASES,
NOW MOUNTED AS LAMPS
LAST QUARTER 19TH CENTURY, INSCRIBED MAISON MARNYHAC 1 RUE DE
LA PAIX PARIS
height of object 17 1/2 in.; height with fittings 29 1/4 in.
44.5 cm; 74.5 cm

New York | 19 Apr 2012, 10:00 AM | N08891
LOT 300
A PAIR OF LOUIS XV STYLE ORMOLU-MOUNTED CHINESE BLUE GROUND
PORCELAIN VASES WITH UNDERGLAZE BLUE AND SLIP DECORATION
THE PORCELAIN 18TH CENTURY, THE ORMOLU LAST QUARTER 19TH
CENTURY
height 10 in.
25.5 cm

New York | 19 Apr 2012, 10:00 AM | N08891
LOT 301
A NAPOLEON III ORMOLU AND SÈVRES-STYLE PORCELAIN GUÉRIDON
74.5 cm; 51 cm

New York | 19 Apr 2012, 10:00 AM | N08891
LOT 302
A PAIR OF FINE AUSTRIAN ROCOCO TULIPWOOD, WALNUT AND
FRUITWOOD PARQUETRY AND MARQUETRY COMMODES
VIENNA, MID-18TH CENTURY, REMOUNTED
84 cm; 102 cm; 61 cm

New York | 19 Apr 2012, 10:00 AM | N08891
LOT 303
A PAIR OF LOUIS XVI STYLE ORMOLU EWERS
SECOND QUARTER 19TH CENTURY

height 18 1/2 in.
47 cm

New York | 19 Apr 2012, 10:00 AM | N08891
LOT 304
A PAIR OF EMPIRE ORMOLU VASES, NOW MOUNTED AS LAMPS
CIRCA 1810
height of object 13 in.; height with fittings 24 3/4 in.
33 cm; 63 cm

New York | 19 Apr 2012, 10:00 AM | N08891
LOT 305
A FRENCH TERRACOTTA PORTRAIT MEDALLION OF BENJAMIN FRANKLIN
(1706-1790) BY JEAN-BAPTISTE NINI (1717-1786)
1777
inscribed around B. FRANKLIN. AMERICAIN., signed and dated on the truncation NINI F
1777 beside an armorial device, dated below again 1777.
diameter of terracotta 4 7/16 in.; framed 7 5/8 in.
11.3 cm; 19.4 cm

New York | 19 Apr 2012, 10:00 AM | N08891
LOT 306
AN ITALIAN GOLD-INLAID TORTOISESHELL NÉCESSAIRE
POSSIBLY GERMAN, MID-19TH CENTURY
comprising two trays, two small boxes, two large boxes, two small canisters, two large
canisters and four candlesticks. 14 pieces.
height of largest 5 1/2 in.
14 cm

New York | 19 Apr 2012, 10:00 AM | N08891
LOT 307
A CANTONESE ENAMEL HAND MIRROR
length 14 1/2 in.
37 cm

Lot Sold: 5,625 USD
New York | 19 Apr 2012, 10:00 AM | N08891
LOT 308
A LOUIS XV STYLE GILT BRONZE, CHINESE POWDER BLUE PORCELAIN
AND LACQUER ENCRIER
THE GILT BRONZE LAST QUARTER&NBSP;19TH CENTURY, THE PORCELAIN
18TH/19TH CENTURY
9.5 cm; 32.5 cm

New York | 19 Apr 2012, 10:00 AM | N08891
LOT 309
A GEORGE III POLISHED STEEL AND JASPERWARE MOUNTED MAHOGANY
DOCUMENT BOX
CIRCA 1785
19.7 cm; 34.3 cm; 23.5 cm

Lot Sold: 4,688 USD
New York | 19 Apr 2012, 10:00 AM | N08891
LOT 310
A LOUIS XV STYLE GILT-BRONZE-MOUNTED FRENCH WHITE PORCELAIN
GROUP
THE PORCELAIN MID-18TH CENTURY, THE MOUNTS LATE 19TH CENTURY
height 10 3/4 in.
27.5 cm

New York | 19 Apr 2012, 10:00 AM | N08891
LOT 311
A LOUIS XV PROVINCIAL POLYCHROME-PAINTED BUREAU PLAT
MID-18TH CENTURY, EXTENSIVELY REDECORATED
77.5 cm; 114.5 cm; 67 cm

New York | 19 Apr 2012, 10:00 AM | N08891
LOT 312
A ITALIAN ROCOCO ARTE POVERA-DECORATED TRAY ON STAND
THE TRAY PROBABLY VENICE, MID-18TH CENTURY, THE STAND LATER
68 cm; 56 cm; 39.5 cm

New York | 19 Apr 2012, 10:00 AM | N08891
LOT 313
A LOUIS XV PROVINCIAL WHITE AND BLUE-PAINTED BUREAU EN PENTE
CIRCA 1760
90 cm; 87 cm; 46 cm

New York | 19 Apr 2012, 10:00 AM | N08891
LOT 314
A SOUTH GERMAN ROCOCO CARVED LIMESTONE FOUNTAIN
POSSIBLY BAMBERG, CIRCLE OF FERDINAND TIETZ, MID-18TH CENTURY
368.5 cm; 234 cm; 112 cm
ESTIMATE 100,000-150,000 USD
CATALOGUE NOTE
A bench by Ferdinand Tietz carved with comparable satyr is illustrated: Bernard Wolfgang Lindeman, Ferdinand Tietz,
1708-1777, Wiessenhorn, 1989, pl. 318 and 319. A related bench with comparable carved satyr, originally from
Schloss Seehof, Bamberg, the summer residence of the Bishops of Seinsheim, has been sold: Sotheby's London,
December 2, 2008, lot 147. The naturalistically carved stalactites so characteristic of his work are illustrated by
Lindemann, op. cit., pl. 229.
The carving of this sculptural arcade, with its large scrolls of various shapes, its sculptural silhouette and asymetric
rocaille and putto, is a remarkable example of the exuberant Franconian Rococo.
Ferdinand Tietz, an Austrian sculptor, active mainly in Germany, first worked with his brother in the sculpture
workshop of his father, Johann Adam Tietz, who was the sculptor of Prince Lobkowitz. Later on, he worked for the
Prague sculptor Mattias Bernard Braun and was influenced by the work of the Italian sculptor Lorenzo Mattielli (1678-
1748), who supplied statuary for palaces and churches in Vienna and Dresden and for the monastery of Melk. In
1736, Ferdinand Tietz started working for Balthazar Neumann at the Würzburg Residenz. It helped him to further
orders in five princely seats: Bamberg (1749-1754), Würzburg (1736-1745), Trier (from 1754), Speyer and Cologne. In
1760, Tietz went to Bamberg and served as court sculptor under six bishops, including three from the house of
Schönborn. Tietz's work includes a significant number of sculptures, of which some are now in museums in Würzburg
and Nuremberg. The garden sculptures in the garden of the Palace of Veiltshöchsheim and in Seehof Palace at
Bamberg are regarded as Tietz's major works. For Schloss Seehof and the residence garden in Bamberg, he created
some 420 pieces: figures, animals and fountains.
This work will be exhibited on-site in Beverly Hills, California from April 14-April 18, 2012. Interested parties who wish
to view the work should contact the department at (212) 606-7285 to schedule an appointment.

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Sotheby's

The Collection of Suzanne Saperstein: 'Fleur-de-Lys,'

ESTIMATE 20,000-30,000 USD

ESTIMATE 10,000-15,000 USD

ESTIMATE 5,000-7,000 USD

ESTIMATE 20,000-30,000 USD

ESTIMATE 20,000-30,000 USD

ESTIMATE 50,000-80,000 USD

ESTIMATE 30,000-50,000 USD

PART 18TH CENTURY

ESTIMATE 40,000-60,000 USD

ESTIMATE 25,000-35,000 USD

ESTIMATE 20,000-30,000 USD

CIRCA 1700, THE TOPS LATER

ESTIMATE 8,000-12,000 USD

ESTIMATE 4,000-6,000 USD

ESTIMATE 150,000-250,000 USD

ESTIMATE 200,000-300,000 USD

ESTIMATE 120,000-180,000 USD

ESTIMATE 80,000-120,000 USD

IMPERIAL LAPIDARY MANUFACTORY EKATERINBURG, DATED 1866

ESTIMATE 80,000-120,000 USD

ESTIMATE 60,000-80,000 USD

ESTIMATE 10,000-15,000 USD

ESTIMATE 30,000-40,000 USD

ESTIMATE 100,000-150,000 USD

ESTIMATE 150,000-250,000 USD

ESTIMATE 12,000-18,000 USD

ESTIMATE 30,000-50,000 USD

ESTIMATE 25,000-35,000 USD

ESTIMATE 20,000-30,000 USD

ESTIMATE 40,000-60,000 USD

ESTIMATE 800,000-1,200,000 USD

Other known coffres de toilettes include:

ESTIMATE 50,000-80,000 USD

ESTIMATE 7,000-10,000 USD

ESTIMATE 70,000-100,000 USD

ESTIMATE 10,000-15,000 USD

ESTIMATE 7,000-10,000 USD

INCORPORATING 17TH CENTURY ELEMENTS

ESTIMATE 30,000-50,000 USD

ESTIMATE 7,000-10,000 USD

ESTIMATE 12,000-18,000 USD

ESTIMATE 10,000-15,000 USD

ESTIMATE 10,000-15,000 USD

ESTIMATE 10,000-15,000 USD

ESTIMATE 60,000-80,000 USD

ESTIMATE 10,000-15,000 USD

ESTIMATE 12,000-18,000 USD

ESTIMATE 15,000-25,000 USD

ESTIMATE 15,000-20,000 USD

ESTIMATE 30,000-50,000 USD

ESTIMATE 5,000-7,000 USD

ESTIMATE 10,000-15,000 USD

ESTIMATE 15,000-20,000 USD

ESTIMATE 6,000-9,000 USD

ESTIMATE 4,000-6,000 USD

ESTIMATE 80,000-120,000 USD

ESTIMATE 80,000-120,000 USD

CIRCA 1780,&NBSP; STAMPED H. JACOB

ESTIMATE 80,000-120,000 USD

ESTIMATE 120,000-180,000 USD

ESTIMATE 10,000-20,000 USD