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Lot 451
A silver three-handled cup, by the Hardy Brothers, London 1927, circular tapering from, scroll handles, on a raised circular foot, inscribed 'Bong Bong Picnic Race Club Cup, 1929, Second Prize won by Bronze Fuze', height 17cm, approx. weight 19.5oz. The Bong Bong Picnic Race Club is based in Bowral, New South Wales, and was founded in 1886. It was the first in Australia to hold races restricted to female riders.
Lot 210
A First World War trio awarded to Pte. A. Allen, Royal Warwickshire Regt. 1914-15 Star, British War Medal, & Victory Medal, mounted for wearing; with accompanying bronze circular memorial plaque to Archibald Allen & certificates, his identity tag; a Royal Artillery regimental cap badge; an army-issue belt; another belt; a pocket telescope; various photos & postcards, etc.
Lot 186
An Art Deco-style bronze owl,signed 'Altdorf' and stamped 'A1256', with a foundry medallion, mounted on a marble plinth,33cm highCondition ReportWear and rubbing to the owl. With surface spotting throughout - appears to be spots of dried dust which will clean off. Some spots of heavier patination. The recesses with accumulated dust. The back of the plinth with a chip. With some buildup of verdigris throughout. Of private provenance.
Lot 255
A French Art Deco walnut and satinwood chest,1930s, of rectangular form, the top with a smoked glass insert over four graduated drawers, each with a pair of cast bronze handles, raised to the front on block supports with curved edges, 157cm wide57cm deep92cm highProvenance: The Collection of the former Dunhill Pipe Factory in Notting Hill.Buying this chest of drawers could save up to 0.32 tonnes of CO2e compared to buying new.Condition ReportThe front corner of the top with loss to the edge. The glass top with a chip to the back corner. The right hand side with a loose section of the edge. The veneer to the front faded in sections. Scuffs to the supports from running the drawers. The feet with scuffs and marks. With some small inactive woodworm holes to the right support. General scratches and marks. Additional images uploaded.
Lot 420
Josie Spencer (American, contemporary),a silvered bronze female torso, raised on an iron stand, 157cm overallBorn and educated in New York, Josie Spencer studied sculpture in Florence, at the Academia della Sculptura with Antonio Berti. At Sarah Lawrence College, New York, she studied sculpture with Ezio Martinelli and art history with William Rubin, Curator of the Museum of Modern Art. Before becoming a student at the New York Studio School for Drawing, Painting and Sculpture, she studied anatomy and drawing at the Art Students League. Josie later became a Board Member and Vice-Chair of the New York Studio School.She exhibited at a number of group and one-person shows in New York at galleries in Soho and Chelsea, before leaving for the UK, where she works in her own West London studio.Condition Reportsplits to the stretcher, knocks to the paintwork, seat rushing in good order, overall sturdy.
Lot 451
A bronze sculpture of a football club goat mascot,‘Hennes’ of 1. FC Köln (Cologne), signed ‘Hein Derichsweiler, Maskottchen I FC Koln’, 23.5cm highThere is also a 1.3m statue in the FC Köln clubhouse. These smaller bronzes were produced in a limited edition and only presented on special occasions, and to the players of FC Köln on winning the German Championship in 1964.
Lot 473
A 'Traccia' table, designed by Méret Oppenheim (Swiss, 1913-1985) in 1938, produced by Simon International, 1980s, the top in gold leaf with footprints impressed to the top and raised on a gilt-bronze pair of legs, 67.5cm wide 53cm deep 64cm highMéret Oppenheim was a painter and sculptor who moved to Paris in 1918 and became part of the circle of Swiss surrealists which included Jean Arp and Alberto Giacometti. She initially designed this table in 1938 and the prototype was exhibited in an exhibition of furniture at the Galeries René Drouin, Paris, in 1939. Other exhibiting artists included Max Ernst, Leonor Fini and Eugene Berman.The table was not put into production until 1972 when an Italian firm, Simon International, included the design in a new range. It continued to be made until at least 1984.Condition ReportThe top with some scratches and marks. To the right of the forward footstep to the top with a patch of scuffing. With a small gouge to the edge. The bronze legs with tarnish and wear - with some emergence of verdigris to the 'ankles' of the supports. Additional images uploaded. The 'bubbling' around the footprint intentional and corresponding with the spherical joints on the feet of the support.
Lot 104
GRAND BRÛLE-PARFUM TRIPODE EN ÉMAUX CLOISONNÉSMilieu de la dynastie Qing (1736-1820)A LARGE CLOISONNÉ ENAMEL TRIPOD INCENSE BURNERMid Qing Dynasty (1736-1820)The circular vessel with straight sides and lipped gilt-bronze rim, supported on three lobed feet, decorated overall with colourfully enamelled foliate lotus and quatrefoil sprays around a central blossom, all reserved against white ground, with turquoise and yellow-ground ruyi-head borders around the interior and exterior rims. 36.8cm (14 1/2in) diam.Footnotes:Provenance: Christie's Paris, 23 June 2020, lot 33Jean-Pierre Rousset, Paris (1936-2021) 清中期 銅胎掐絲琺瑯纏枝蓮紋三足爐來源：巴黎佳士得，2020年6月23日，拍品編號33巴黎Jean-Pierre Rousset（1936-2021）舊藏For further information on this lot please visit Bonhams.com
Lot 11
DEUX ÉLÉMENTS EN BRONZE ARCHAÏQUE À TÊTE DE DRAGONDynastie des Zhou de l'Est (770-221 avant J.-C)TWO ARCHAIC BRONZE 'DRAGON' FINIALSEastern Zhou Dynasty (770-221 BC)Each finely cast in the zoomorphic form of a sinuous dragon issuing from a tapering conical shaft, with typical Verdigris and encrustations. 18.5cm (7 1/2in) and 10cm (4in) long. (2).Footnotes:Provenance:Robert Rousset, Paris (1901-1981), acquired prior to 1935Jean-Pierre Rousset, Paris (1936-2021) Compare with a closely related pair of bronze 'dragon' finials, Eastern Zhou dynasty, in the Freer Gallery of Art, Washington DC (acc.nos.S2012.9.2284.1-2).東周 青銅龍形飾 一組兩件來源：巴黎Robert Rousset（1901-1981）舊藏，於1935年前入藏巴黎Jean-Pierre Rousset（1936-2021）舊藏For further information on this lot please visit Bonhams.com
Lot 12
RARE FIBULE EN BRONZE DORÉDynastie des Han orientaux, datée de l'an 76 ap. J.-C et d'époqueA RARE GILT-BRONZE DOCUMENTARY BELT-HOOKEastern Han Dynasty, dated 76 AD and of the periodThe arched shaft shaped as the sinuous body of a dragon, finely inlaid in gold with swirling clouds and waves, the hook formed by a small dragon head with large snout and bulging eyes, the reverse inscribed in gold with a calligraphic inscription and set with a circular button decorated with geometric designs. 14cm (5 1/2in) long.Footnotes:Provenance:Robert Rousset, Paris (1901-1981), acquired prior to 1935Jean-Pierre Rousset, Paris (1936-2021) Belt hooks with dated inscriptions, such as the present lot, are extremely rare. The inscription on the reverse of the belt hook dates the piece to the Fifth Month of the First Year of Jianchu, corresponding to 76 AD.Only approximately 50 years before this belt hook was made, the Han dynasty re-established itself after Wang Mang's short-lived Xin dynasty ended in 23 AD. The Han dynasty in this period, known to historians as the later Han dynasty or the Eastern Han dynasty (because the capital had been moved from Chang'an in the west to Luoyang in the east) was still in a relatively vulnerable position. During Wang Mang's reign, the Xin dynasty lost control over the Tarim Basin in the west. A year before the present lot was made, the new Protector General of the Western Regions Chen Mu was killed by allies of the Xiongnu, and the garrison at Hami retreated. It was not until 91 AD, that the famous general and historian Ban Chao reasserted Han control of the Western Regions after crushing rebellions in Kashgar (80 AD) and Yarkand (88 AD). Just twenty years after the present lot was made, in 97 AD, Ban Chao was able to send Gan Ying as an envoy, who reached the Black Sea and left the first recorded Chinese account of Europe.東漢 公元七六年 鎏金銅龍首帶鉤來源：巴黎Robert Rousset（1901-1981）舊藏，於1935年前入藏巴黎Jean-Pierre Rousset（1936-2021）舊藏建初元年五月五日丙午造辟兵保身鉤For further information on this lot please visit Bonhams.com
Lot 130
COMMODE LOUIS XIV EN BOIS DE PLACAGE À MARQUETERIE GÉOMETRIQUE, ORNEMENTATION DE BRONZE DORÉ RAPPORTÉEEn partie fin XVIIe siècle A LOUIS XIV ORMOLU-MOUNTED AMARANTH, BOIS SATINE, WALNUT AND EBONY-BANDED PARQUETRY COMMODE Late 17th century and later Veneered overall with lozenge parquetry, the shaped rectangular top with moulded brass border, above three long drawers with handles and profile-centred putti shaped escutcheons, the pilaster angles surmounted by large foliate chutes and terminating in splayed foliate feet, the scrolling foliate apron centred by a espagnolette mask, the sides inlaid with a large lozenge motif, remounted. 85cm (33 1/2) high x 133cm (52 1/4in) wide x 65.5cm (25 3/4in) deep.Footnotes:部份為十七世紀晚期 路易十四時期紫芯木、緞木、胡桃木及烏木幾何細木鑲嵌貼面鑲鎏金銅抽屜櫃For further information on this lot please visit Bonhams.com
Lot 145
COMMODE D'ÉPOQUE LOUIS XV EN MARQUETERIE GÉOMETRIQUE DE BOIS DE ROSE, SATINÉ ET AMARANTE, ORNEMENTATION DE BRONZE CISELÉ ET DORÉ, ESTAMPILLE DE JACQUES DUBOISVers 1755A LOUIS XV ORMOLU-MOUNTED TULIPWOOD, BOIS SATINE, AMARANTH AND PARQUETRY COMMODE, JACQUES DUBOISCirca 1755Overall veneered with contrasting lozenge motifs, the shaped and moulded brèche d'Alep marble top, with two small drawers variously shaped above one long drawer, each with shaped reserves for foliate handles and cartouche shaped escutcheons, flanked by extensive pierced foliate chutes, the sides centred by a large stylized shell foliate mount, above splayed legs terminating in lion-headed foliate scrolling sabots, stamped 'I.DUBOIS' and 'JME'. 84cm (33in) high x 123cm (48 1/2in) wide x 58cm (22 3/4in) deep.Footnotes:Jacques Dubois, maître ébéniste in 1742.Jacques Dubois was born in 1694 from Marguerite Montigny and Louis Dubois. His half-brother, Noël Gérard, born before 1690 is the son of Marguerite Montigny' previous union with Nicolas Gérard. Noël Gérard quickly became one of the most important cabinetmakers and marchand-mercier in Paris, based in the Hôtel Jabach, rue neuve Saint-Merry. It was exactly in the workshop of his half-brother Noël Gérard that Jacques Dubois began his career in the 1720's, and logically became quite influenced by Gérard. Interestingly, Dubois did not receive his master's degree until much later in 1742, at the age of 48. After the disappearance of Noël Gérard in 1736, Jacques Dubois had to rely on other marchands-mercier to sell his furniture until he obtained his 'maîtrise'. In the 1740's Jacques Dubois is known to have excelled in his production of floral marquetry, inspired by the work of Bernard I Van Risenburgh and by that of Jean-Pierre Latz. In addition, Jacques Dubois often incorporated Chinese and Japanese lacquer into his repertoire, but always paid particular attention to the ormolu mounts which he retained an essential element. Our commode marks an evolution in Jacques Dubois's oeuvre, both its shape and the parquetry (marqueterie à cubes) are in harmony with the Transitional style and evoke the beginning of the goût Grec which will have a huge impact in the years to come. It is interesting to note that on the death of Jean-François Oeben in 1763, Jacques Dubois was commissioned by the heirs of Oeben as an expert to value the remaining content of Oeben's workshop. We find the same type of cube parquetry on certain pieces of furniture by Jean-François Oeben, with whom he probably collaborated. While this shaped parquetry commode is quite atypical in the oeuvre of Jacques Dubois, we can observe the interesting contrast between the finely presented ormolu mounts backed with by similarly shaped contrasting veneered cartouches, and the amusing arrangement of the drawers, where the top drawer is divided in one third-two third sections while the lower one is a single drawer, creating surprise. Assez atypique dans l'œuvre de Jacques Dubois, cette commode de forme galbée tient son intérêt dans l'harmonieuse présentation de son ornementation de bronzes ciselés et dorés placés sur des cartouches de forme identique contrastant le fond à motif géométrique, ceci est particulièrement visible sur les poignées feuillagées, les entrées de serrure et les riches bronzes feuillagés centrés de coquilles stylisées placés sur les côtés qui sont ainsi mis en valeur. De plus, l'arrangement des tiroirs est surprenant, en partie supérieure on trouve deux tiroirs divisés en un tiers et deux tiers, alors que celui inférieur est un long tiroir, l'avantage esthétique étant de ne pas briser la ligne, de jouer avec le ressaut présent et surtout de créer la surprise. Jacques Dubois naquit en 1694 de l'union entre Marguerite Montigny et Louis Dubois. Son demi-frère, Noël Gérard, né avant 1690 est le fils de la précédente union de Marguerite Montigny avec Nicolas Gérard. Noël Gérard deviendra rapidement un des ébénistes et marchand-merciers les plus importants de Paris, installé dans l'hôtel Jabach, rue neuve Saint-Merry. C'est dans l'atelier de son demi-frère Noël Gérard que Jacques Dubois a commencé sa carrière dans les années 1720, et il a été passablement influencé par Gérard. Dubois n'a reçu sa maîtrise que bien plus tard en 1742, à l'âge de 48 ans. Après la disparition de Noël Gérard en 1736, Jacques Dubois a dû s'appuyer sur d'autres marchands afin de commercialiser ses meubles jusqu'à l'obtention de sa maîtrise. Jacques Dubois est connu pour avoir entamé sa production de marqueterie à motif feuillagé en bois-de-boût dans les années 1740, en s'inspirant de l'œuvre de Bernard I Van Risenburgh ainsi que de Jean-Pierre Latz. Outre la marqueterie, Jacques Dubois a souvent incorporé la laque de Chine et du Japon dans son répertoire. Il a toujours attaché une attention particulière à l'ornementation en bronze doré, et à la présentation de celle-ci, souvent mise en valeur, comme dans ce cas. La commode ici présentée signe une évolution dans l'œuvre de l'ébéniste, sa forme ainsi que la marqueterie géométrique sont en harmonie avec le style Transition et évoquent déjà le début du goût Grec qui fera rapidement son apparition. Il est intéressant de noter qu'a la mort de Jean-François Oeben en 1763, Jacques Dubois a été mandaté par les héritiers de Oeben en tant qu'expert pour la succession. On retrouve le même type de marqueterie à cubes sur certains meubles de Jean-François Oeben, avec qui il a probablement collaboré. Jacques Dubois est mort la même année, en 1763. 約1755年 Jacques Dubois製路易十五時期鎏金銅飾鬱金香木、緞木及紫芯木幾何細木镶嵌抽屜櫃For further information on this lot please visit Bonhams.com
Lot 149
PAIRE DE MEUBLES À HAUTEUR D'APPUI D'ÉPOQUE LOUIS XVI EN PLACAGE DE BOIS CITRONNIER, BOIS DE ROSE ET FILETS D'AMARANTE ET D'ÉBÈNE, ORNEMENTATION DE BRONZE CISELÉ ET DORÉ EN PARTIE RAPPORTÉEVers 1775A PAIR OF LOUIS XVI ORMOLU-MOUNTED SATINWOOD, TULIPWOOD, AMARANTH AND EBONY-BANDED SIDE CABINETS Circa 1775Each of rectangular form with brèche d'Alep marble top, above two doors with alternating amaranth and ebony encadrement banding, the canted angles with simulated fluting surmounted by chutes and above bracket feet with replaced sabots, the sides conformingly veneered, the interior concealing two shelves and a oak drawer, above a ribbon-tie apron mount, with the collection brand: 'COLLECTION GEORGES HEINE', the back with a large label of the 'MUSEES NATIONAUX/PALAIS DE COMPIÈGNE' inscribed respectively: 'Petit meuble d'appui à vantaux. N.4 du dépot de la succession Heine' and 'Petit meuble d'appui à vantaux. N.5 du dépot de la succession Heine', largely remounted. 86cm (33 3/4in) high x 92cm (36 1/4in) wide x 41cm (16 1/4in) deep. (2)Footnotes:Provenance:Collection Georges Heine, Palais Galliera, Paris, 23 March 1971, lot 110Exhibited:On loan to the Palais de Compiègne, before 1971Georges Heine belongs to one of those wealthy European families who made their fortune in Banking, and who throughout the 19th century were able to acquire masterpieces of Decorative Arts to furnish their vast residences, as did The Rothschild, David-Weill, Hottinguer, Camondo, Fould and Jacquemart-André. Georges Heine's father, Michel Heine was with his brother, the founder of the family Heine bank, born from the takeover of the Fould bank. Michel Heine married Amélie Miltenberger and they had three kids: Alice, future Duchess of Richelieu and subsequently Princess consort of Monaco, Paul-Henri who sadly died at the early age of 18, and Georges. In 1877, Michel bought Alice and the Duke of Richelieu the Richelieu Estate. In 1890, Michel Heine was appointed Regent of the Banque de France while in 1914, his son Georges succeeded Edouard Aynard. It is in 1904 that Alice and her brother Georges Heine inherited their father's collection which furnished his hôtel particulier of Avenue Hoche in Paris. In 1928, Georges Heine died at the Domaine de Richelieu leaving his collection to his 9 years old son, Robert Heine born in 1919. To protect Robert's inheritance, a part of his collection was deposited on loan at the Palais de Compiègne and at the Musée des Arts Décoratifs, with the idea that it would be safely kept until after his majority, and then later enjoyed by Robert Heine at his home on Avenue Marceau in Paris. It is finally on 23 March 1971 that the collection was to be sold by Ader-Picard at Palais Galliera in Paris. This pair of side cabinets bears the labels of the Palais de Compiègne attesting the deposit. Georges Heine est issu d'une de ces familles de riches banquiers et collectionneurs, qui tout au long du XIXème siècle ont su acquérir des chefs d'oeuvre des Arts Décoratifs pour meubler leurs vastes résidences. Les familles Rothschild, David-Weill, Hottinguer, Pillet-Will, Reinach, Camondo, Fould, Jacquemart-André et Heine en sont les principaux représentants. Georges Heine est le fils de Michel Heine, créateur et gérant, avec son frère, de la banque du même nom. La banque Heine naît de la reprise de la banque Fould, elle crée une filiale à la Nouvelle Orléans, Michel Heine y rencontre sa future femme, Amélie Miltenberger; de cette union naissent trois enfants, Alice, future Duchesse de Richelieu puis Princesse Consort de Monaco, Paul-Henri, et Georges. Michel et Amélie Heine fréquentent le cercle intime du couple impérial, Amélie est l'une des amies intimes de l'Impératrice. En 1877, Michel Heine achète pour sa fille et son gendre, duc de Richelieu, ce qu'il reste du domaine de Richelieu. En 1890, Michel Heine est nommé Régent de la Banque de France au 13ème siège, puis en 1914 son fils Georges succède à Edouard Aynard au 7ème siège. Leur frère Paul Henri meurt à l'âge de 18 ans. En 1904, Alice et son frère Georges Heine héritent des collections de leur père accumulées dans son hôtel particulier du 21 avenue Hoche à Paris. Par cet héritage, Georges Heine accroît sa propre collection qu'il transmet à son fils Robert Heine né en 1919. En 1928, Georges Heine meurt au domaine de Richelieu où il sera inhumé. Né hors mariage mais reconnu par son père, Robert a 9 ans au décès de ce dernier; mineur, afin de sauvegarder son héritage, une partie des collections est mise en dépôt au Palais de Compiègne et au musée des Arts Décoratifs. Collection qui sera récupérée à sa majorité, après la seconde guerre mondiale, pour en avoir la jouissance dans sa demeure du 34 avenue Marceau. Après donations, mises en dépôt, elle est proposée aux enchères en 1971 par l'étude Ader-Picard au Palais Galliera le 23 mars 1971. La paire de meubles que nous présentons aujourd'hui porte l'étiquette des Musées Nationaux / Palais de Compiègne attestant le dépôt de ces meubles.約1775年 路易十六時期椴木、鬱金香木、莧紫木及烏木鑲鎏金銅邊櫃一對來源：Georges Heine珍藏，巴黎加列拉宮，1971年3月23日，編號110展覽：1971年以前借展於貢比涅宮For further information on this lot please visit Bonhams.com
Lot 15
PLAQUE EN BRONZE ARCHAÏQUE À DÉCOR AJOURÉ D'ONAGRESOrdos, vers IIe–Ier siècle av. J.-C.AN ARCHAIC BRONZE OPENWORK 'BATTLING ONAGERS' PLAQUE Ordos, circa 2nd-1st century BCRectangular in shape and cast with reticulated designs, with a pair of confronted onagers battling each other, stand. 12.5cm (4 7/8in) wide x 5.5cm (2 1/8in) high. (2).Footnotes:Provenance:Robert Rousset, Paris (1901-1981)Jean-Pierre Rousset, Paris (1936-2021) Compare with a very similar but gilt-bronze plaque, Ordos, circa 2nd-1st century BC, in the British Museum, London (acc.no.1947,0712.365).鄂爾多斯，公元前二至一世紀 青銅鏤空鹿紋飾牌來源：巴黎Robert Rousset（1901-1981）舊藏巴黎Jean-Pierre Rousset（1936-2021）舊藏For further information on this lot please visit Bonhams.com
Lot 150
COMMODE D'ÉPOQUE TRANSITION EN BOIS DE ROSE ET FILETS D'AMARANTE, ORNEMENTATION DE BRONZE CISELÉ ET DORÉ, ESTAMPILLE DE CLAUDE-CHARLES SAUNIER, MARQUE AU FEU DU DUC DE PENTHIÈVRE À CHATEAUNEUF-SUR-LOIREVers 1770A LATE LOUIS XV ORMOLU-MOUNTED TULIPWOOD AND AMARANTH-BANDED COMMODE, CLAUDE-CHARLES SAUNIER, BRAND OF DUC DE PENTHIEVRE AT CHATEAUNEUF-SUR-LOIRECirca 1770 The rectangular moulded brèche d'Alep marble top above three drawers sans traverse framed by a contrasting veneered encadrement and rosettes and an ormolu border, with escutcheons and ring handles, the sides conformingly veneered, above slight cabriole legs terminating in upswept acanthus foliate sabots, stamped 'CC SAUNIER' and 'JME', with Châteauneuf-sur-Loire château brand 'C9' centred by an anchor. 89cm (35in) high x 131cm (51 1/2in) wide x 56cm (22in) deep.Footnotes:Provenance:Louis-Jean-Marie de Bourbon, duc de Penthièvre, Grand Amiral de France (1725-1793), at Châteauneuf-sur-LoireSotheby Parke Bernet & Co., Monte-Carlo, 15 June 1981, lot 126Published:P.Kjellberg, Le Mobilier Français du XVIIIème siècle, Paris, 1998, pp.772-773, pl.AA.Pradère, Les ébénistes de Louis XIV à la Révolution, Paris, 1989, p.369, pl.443Claude-Charles Saunier, maître ébéniste in 1752.Claude-Charles Saunier (1735-1807), brought up by a family of cabinetmakers established rue du Faubourg Saint-Antoine, obtained his master's degree (Maîtrise) at a very young age, in 1752. It is in 1765 that he took over the family workshop producing mainly luxurious and tasteful furniture predominantly in the Neoclassical style. This chest of drawers belongs to a group of furniture that Saunier was particularly fond of. He executed this very type of commode in different variations. The sober decoration, absence of breakfront and discreet-looking facade is enriched by a double framing, here as an amaranth filet delicately contrasting the horizontal veined tulipwood, and an outer ormolu frame 'encadrement' highlighting the drawers sans traverse. A practically identical commode of smaller size was sold anonymously Christie's Paris, 500 Ans: Arts Décoratifs Européens, 5 May 2011, lot 321. Another one was sold at Hôtel des ventes Piguet in Geneva on 13 June 2012, lot 1001. A related chest of drawers was sold at Cheverny in June 1990; while another closely related example was offered for sale at Christie's New York in October 1991.The Duc de Penthièvre, Grandson of Louis XIV and son of Louis-Alexandre de Bourbon, Louis-Jean-Marie de Bourbon (1725-1793) also had the title of Grand Amiral de France, a title he retains from the early age of twelve. Owner of Château de Rambouillet, which he had to give up in favour of Louis XVI in 1783, the Duke de Penthièvre, one of the richest men in Europe as a result of inheriting land from his uncle the Duke of Maine, owned the Hôtel de Toulouse (now the Banque de France) and through inheritance became the owner of various important châteaux as Sceaux, Aumale, Dreux, Gisors and of Anet. Over the years, the Duke of Penthièvre also acquired a few other prestigious properties, as Chanteloup and the Château at Châteauneuf-sur-Loire in 1784 from the Rohan-Guéméné family, with all its content. Following the Duke's death in 1793, the contents of the Château were seized during the Revolution and later sold in Paris. The brand used by the Duke of Penthièvre is that of the anchor, which refers to his title of Grand Amiral de France, with the addition of the letters specific to each castle, in this case in a very modern and original innovative spirit: 'C9' for Châteauneuf-sur Loire. Claude-Charles Saunier (1735-1807), issu d'une famille d'ébénistes établis rue du Faubourg Saint-Antoine, obtint sa maîtrise très jeune, en 1752. Il reprit en 1765 l'atelier familial produisant essentiellement de luxueux meubles de goût Néoclassique. Cette commode fait partie des meubles qu'affectionna particulièrement Claude-Charles Saunier. Il réalisa ce type même de commode avec différentes variantes. Les lignes précises, le décor sobre, la façade d'apparence discrète est enrichie d'un double encadrement discret, premièrement en filet d'amarante contrastant délicatement le bois de rose, et finalement en bronze doré soulignant les tiroirs sans traverses sans ressaut. Petit-fils de Louis XIV et fils de Louis-Alexandre de Bourbon, Louis-Jean-Marie de Bourbon (1725-1793), duc de Penthièvre et Grand Amiral de France, propriétaire du château de Rambouillet qu'il dût céder à Louis XVI, était également propriétaire de l'hôtel de Toulouse à Paris (aujourd'hui la Banque de France). Louis-Jean-Marie de Bourbon devient un des hommes les plus riches d'Europe par suite de l'héritage du patrimoine foncier de son oncle, le duc de Maine. Il sera propriétaire des différents châteaux hérités: Sceaux, Aumale, Dreux, Gisors et bien entendu Anet. De plus, dans le courant de sa vie, il fera également l'acquisition d'autres nobles propriétés, comme Chanteloup ainsi que le château à Châteauneuf-sur-Loire. La marque de château à l'ancre se réfère au titre de Grand Amiral de France, titre que Louis-Jean-Marie de Bourbon a depuis l'âge de douze ans. On ajoute à la représentation de l'ancre les lettres spécifiques à chaque château, soit dans ce cas et dans un esprit moderne : 'C9' pour Châteauneuf-sur-Loire. Châteauneuf-sur-Loire a été construit par Mansart à la fin du XVIIème siècle. Il a été racheté par le duc de Penthièvre en 1784 auprès de la famille Rohan-Guéméné, avec tout son contenu, pour la somme de 50.000 livres. Le duc est mort en 1793, et le contenu du château est saisi sous la Révolution et dispersé à Paris en vente. Une commode de forme pratiquement identique mais plus petite a été vendue chez Christie's à Paris, le 5 mai 2011, lot 321, et une autre, à l'Hôtel des ventes Piguet à Genève, le 13 juin 2012, lot 1001. Une commode similaire a été vendue à Cheverny en juin 1990, alors qu'une autre est passée en vente chez Christie's New York en octobre 1991.約1770年 路易十五晚期鬱金香木及莧紫木鑲鎏金銅斗櫃來源：路易·讓-瑪麗·德·波旁，彭蒂埃夫爾公爵，法國海軍上將 (1725-1793)舊藏，盧瓦爾河畔新堡蒙特卡洛蘇富比，1981年6月15日，編號126出版：P.Kjellberg, 《Le Mobilier Français du XVIIIème siècle》，巴黎，1998年，頁772-3，圖AA.Pradère, 《Les ébénistes de Louis XIV à la Révolution》，巴黎，1989年，頁369，圖443For further information on this lot please visit Bonhams.com
Lot 151
GRANDE COMMODE À RESSAUT D'ÉPOQUE LOUIS XVI EN ACAJOU ET ACAJOU MOUCHETÉ, ORNEMENTATION DE BRONZE CISELÉ ET DORÉ, ESTAMPILLE DE GUILLAUME BENEMANVers 1790 A LOUIS XVI ORMOLU-MOUNTED MAHOGANY AND PLUM-PUDDING MAHOGANY LARGE COMMODE, GUILLAUME BENEMANCirca 1790 Of rectangular break-front form, the grey-veined white marble top above three frieze drawers with encadrement mounts and foliate escutcheons, on two long drawers sans traverse but with three encadrement mounts, with foliate swagged handles and ribbon-tie cornucopia escutcheons, the brass-mounted channelled rounded angles surmounted by brettés panels and terminating in turned tapering toupie feet, stamped four times 'G.BENEMAN'. 99cm (39in) high x 175cm (69in) wide x 66cm (26in) deep.Footnotes:Provenance:Probably from the collection of the late Sir Fairfax Cartwright, G.C.M.G., G.C.V.O., Christie's London, 27 June 1968, lot 84Christie's Monte-Carlo, 7 December 1985, lot 120Related literature:A.Pradère, Les Ebénistes de Louis XIV à la Révolution, Paris, 1989, pp.405-411Guillaume Beneman, maître ébéniste in 1785.In 1785, Guillaume Beneman (circa 1750-1811), of German origin, then almost unknown, was chosen after having participated in a call for tenders launched by the Royal Garde-Meuble, to become the main supplier of the Garde-Meuble de la Couronne to replace Jean-Henri Riesener, which had become slightly out of fashion and too expensive, following the decision to cut costs. Beneman who until then had been working freely in the Faubourg Saint-Antoine, was quickly received as a master cabinetmaker in 1785. Exempted from the rights and conditions of access to the profession, he was mainly chosen for his talent and for the similarity of his production to Riesener's one. Beneman was initially responsible for restoring, modifying, updating and copying existing important pieces of furniture from the royal collection, under the supervision of the talented and influent wood sculptor Jean Hauré. In just a few years (1786-1792) and with the help of fifteen to twenty craftsmen at his command, he delivered no less than 235 pieces of furniture for a total of 59.555 livres. At the same time, Beneman kept up to date and was inspired by the latest trends propagated by the important marchand-mercier Dominique Daguerre, whose ideas were often executed by the not less talented cabinetmaker Adam Weisweiler. C'est en 1785 que Guillaume Beneman (vers 1750-1811), d'origine allemande, alors quasiment inconnu, est choisi après avoir participé à l'appel d'offre lancé par le Garde-Meuble de la Couronne, comme principal fournisseur du Garde-Meuble royal en remplacement de Jean-Henri Riesener devenu trop cher, suite à la décision de réduire les coûts. Beneman exerçant jusque-là librement au Faubourg Saint Antoine, est donc rapidement reçu maître-ébéniste en 1785. Dispensé de droits et conditions d'accès à la profession, il est principalement choisi pour sa maîtrise de son travail et pour la précision de son exécution proche de Riesener. Il devient donc le dernier ébéniste fournisseur du Garde-Meuble de la Couronne. Il est d'abord chargé de restaurer, modifier, mettre à jour et copier certains meubles importants de la collection royale, sous la supervision du talentueux sculpteur sur bois Jean Hauré. En quelques années (1786-1792) et avec l'aide d'une quinzaine de collaborateurs à ses ordres, il livre non moins de 235 meubles pour un total de 59.555 livres! Parallèlement, Beneman suit et s'inspire des dernières tendances propagées par l'influent marchand-mercier Dominique Daguerre, créations souvent exécutées par Adam Weisweiler. Ce type de grande commode à ressaut aurait été développé initialement par Adam Weisweiler vers les années 1745, soit en acajou ou en laque du Japon. Mais c'est vers la fin du règne de Louis XVI que ce type de commode est à son apogée. La sobriété des lignes et la pureté du dessin sont caractéristiques de la meilleure production de la fin du XVIIIème siècle. 約1790年 Guillaume Beneman製路易十六風格桃花芯木鑲鎏金銅飾大邊櫃來源：或為費爾法克斯·卡特賴特爵士G.C.M.G.，G.C.V.O.舊藏，倫敦佳士得，1968年6月27日，編號84蒙特卡洛佳士得，1985年12月7日，編號120相關出版：A.Pradère，《Les Ebénistes de Louis XIV à la Révolution》，巴黎，1989年，頁405-4111785年，為了減少開支，法國皇家傢俱貯藏庫（Garde-Meuble de la Couronne）公開招標時，選擇了當年默默無聞的德國籍細木傢俱製造商Guillaume Beneman（1750-1811 年）作為皇家傢俱保管府（Garde-Meuble Royal）的首要供應商。 Guillaume Beneman由此取代了當時價格過高的供應商Jean-Henri Riesener。 Beneman此前一直是巴黎聖安托萬市郊路的自由傢俱製造商。 這一年，他也很快獲得「高級細木傢俱製造大師」的殊榮。 被免除了例行的行業費用和規定，Beneman入選首要供應商的成功因素是他無可挑剔之專業水準和與Riesener不相上下的精雕細琢之工藝。 他也因此成為法國皇家傢俱貯藏庫的最後一位傢俱供應商。 在異稟天賦的木製雕刻家Jean Hauré的督察下，他最初負責法國皇家傢俱貯藏庫里一些重要傢俱的修復、改造、更新和複製。 之後短短幾年裡，他和他十幾位工匠師製作了不下235件總值達59 555法國里弗爾的傢俱。 同時，Beneman跟隨引領潮流的「奢侈品轉銷商」Dominique Daguerre宣導的最新時尚... For further information on this lot please visit Bonhams.com
Lot 155
TABLE DE SALLE A MANGER D'ÉPOQUE FIN LOUIS XVI EN ACAJOUFin du XVIIIe/début du XIXe siècle A LATE LOUIS XVI MAHOGANY EXTENDING DINING TABLE Late 18th/early 19th centuryThe rounded top with extending mahogany veneered leaves, on six turned tapering slender legs terminating in gilt-bronze castors. 73cm (28 3/4in) high x 128cm (50 1/2in) long (without extending leaves) x 125cm (49.1/4in) deep (three extra leaves 49cm (19 1/4in) wide).Footnotes:十八世紀末/十九世紀初 路易十六晚期桃花心木伸縮餐桌For further information on this lot please visit Bonhams.com
Lot 158
PAIRE D'APPLIQUES DE STYLE LOUIS XVI EN BRONZE CISELÉ ET DORÉ À DEUX BRAS DE LUMIÈRESXIXe siècleA PAIR OF LOUIS XVI STYLE ORMOLU TWO-BRANCH WALL-LIGHTS19th CenturyEach with shaped tapering backplate with piastre motif surmounted by a flaming urn and swags, issuing the shaped branches terminating in foliate nozzles and drip-pans. 40.5cm (16in) high x 31cm (12 1/4 in) wide. (2)Footnotes:十九世紀 路易十六風格鎏金銅壁燈一對For further information on this lot please visit Bonhams.com
Lot 159
PAIRE D'APPLIQUES TRANSITION EN BRONZE DORÉ À DEUX BRAS DE LUMIÈRESFin du XVIIIe/début du XIXe siècleA PAIR OF FRENCH ORMOLU TWO-BRANCH WALL-LIGHTS Late 18th/early 19th centuryEach with shaped tapering backplate surmounted by a flaming swagged urn, issuing the scrolling branches with oak leaf swags and terminating in beaded drip-pans and foliate nozzles. 43cm (17in) high x 27.5cm (10.3/4in) wide. (2)Footnotes:十九世紀末／二十世紀初 鎏金銅壁燈一對For further information on this lot please visit Bonhams.com
Lot 16
PLAQUE EN BRONZE ARCHAÏQUE DORÉ À DÉCOR AJOURÉ DE DEUX DAIMSOrdos, vers IIe–Ier siècle av. J.-C.AN ARCHAIC GILT-BRONZE OPENWORK 'TWO DEER' PLAQUE Ordos, circa 2nd-1st century BCThe rectangular plaque gilt and decorated with a pair of deer with almond-shaped eyes, their necks crossing, amidst pierced foliage, all within a rectangular rope-twist border. 10.6cm (4 1/8in) wide x 6.3cm (2 1/2in) high.Footnotes:Provenance:Robert Rousset, Paris (1901-1981), acquired prior to 1935Jean-Pierre Rousset, Paris (1936-2021) Compare with a related pair of rectangular gilt-bronze plaques, depicting yaks, Ordos, 2nd century BC, which was sold at Sotheby's London, 13 December 2021, lot 103.鄂爾多斯 公元前二至一世紀 鎏金銅鏤空鹿紋飾牌來源：巴黎Robert Rousset（1901-1981）舊藏，於1935年前入藏巴黎Jean-Pierre Rousset（1936-2021）舊藏For further information on this lot please visit Bonhams.com
Lot 164
DEUX PLAQUES DE MORS EN BRONZE EN FORME DE TAUREAUXLuristan, IXe/VIIe siècle av. J.-C.TWO BRONZE PART CHEEKPIECE 'BULL' FITTINGS Luristan, 9th/7th century BCEach in the shape of a bull, standing foursquare, the body with a circular aperture and the tail fashioned in a hoop. 12cm (4 6/8in) wide. (2).Footnotes:Provenance:Robert Rousset, Paris (1901-1981)Jean-Pierre Rousset, Paris (1936-2021) 洛雷斯坦 公元前九/七世紀 青銅公牛形飾來源：巴黎Robert Rousset（1901-1981）舊藏巴黎Jean-Pierre Rousset（1936-2021）舊藏For further information on this lot please visit Bonhams.com
Lot 165
BRONZE EN FORME DE TÊTE D'IBEXLuristan, ca VIIIe siècle av. J.-C.A LURISTAN 'IBEX' BRONZE Luristan, circa 8th century BCFinely cast as the head of an ibex with two long curved horns, flanked by two hoops supporting two birds. 10cm (4in) wide.Footnotes:Provenance:Robert Rousset, Paris (1901-1981)Jean-Pierre Rousset, Paris (1936-2021) Compare with a related harness ring, with ibex and felines, Luristan, 10th-9th centuries BC, in the Honolulu Academy of Arts (acc.no.2494.1).洛雷斯坦 約公元前八世紀 青銅羚羊形飾來源：巴黎Robert Rousset（1901-1981）舊藏巴黎Jean-Pierre Rousset（1936-2021）舊藏For further information on this lot please visit Bonhams.com
Lot 166
ORNEMENT EN BRONZE « MAÎTRES DES ANIMAUX »Luristan, VIIIe/VIIe siècle av. J.-C.A BRONZE 'MASTER OF ANIMALS' STANDARDLuristan, 8th/7rd century BCFinely cast with the central cylindrical hollowed shaft decorated with faces flanked by sinuous and stylised felines. 20cm (8in) high.Footnotes:Provenance:Robert Rousset, Paris (1901-1981)Jean-Pierre Rousset, Paris (1936-2021) 鄂爾多斯 公元前七/八世紀 青銅飾來源：巴黎Robert Rousset（1901-1981）舊藏巴黎Jean-Pierre Rousset（1936-2021）舊藏For further information on this lot please visit Bonhams.com
Lot 167
FAÎTEAU EN BRONZE AU DOUBLE FÉLINLuristan, VIIIe siècle av. J.-CA BRONZE 'DOUBLE FELINE' FINIALLuristan, 8th century BCShaped in the form of two conjoined felines with open fangs, long arched neck and curling tails, the paws joined to leave an insertion gap in the middle. 15.5cm (6 1/8in) high.Footnotes:Provenance:Robert Rousset, Paris (1901-1981)Jean-Pierre Rousset, Paris (1936-2021) 洛雷斯坦 公元前八世紀 青銅雙獸形飾來源：巴黎Robert Rousset（1901-1981）舊藏巴黎Jean-Pierre Rousset（1936-2021）舊藏For further information on this lot please visit Bonhams.com
Lot 168
MANCHE DE PIERRE À AIGUISER EN BRONZELuristan, vers le Xe/VIIIe siècle av. J.-C.A LURISTAN BRONZE WHETSTONE HANDLECirca 10th-8th Century BCFinely cast in the form of the head and foreparts of an ibex defined by long and arched antlers. 13cm (5 1/8in) high. Footnotes:Provenance:Robert Rousset, Paris (1901-1981)Jean-Pierre Rousset, Paris (1936-2021) 洛雷斯坦 約公元前十至八世紀 青銅羚羊形手柄來源：巴黎Robert Rousset（1901-1981）舊藏巴黎Jean-Pierre Rousset（1936-2021）舊藏For further information on this lot please visit Bonhams.com
Lot 17
PAIRE DE PLAQUES EN BRONZE ARCHAÏQUE À DÉCOR AJOURÉ D'AIGLE, TIGRE ET BÉLIEROrdos, vers IIe-Ier siècle av. J.-C.A PAIR OF ARCHAIC BRONZE OPENWORK 'EAGLE, TIGER AND RAM' PLAQUESOrdos, circa 2nd-1st century BCEach cast with reticulated designs of a raptor and a tiger attacking a ram, the bird vividly portrayed wildly flapping its wings and tail, the tiger biting the neck of the ram and fitted with two small hoops for suspension on its back. 12.3cm (4 7/8in) wide x 7.3cm (2 7/8in) high. (2).Footnotes:Provenance:Robert Rousset, Paris (1901-1981)Jean-Pierre Rousset, Paris (1936-2021) Compare with a related pair of Ordos bronze buckle plaques, 2nd half of the 1st century BC, illustrated by P.Pelliot, 'Quelques réflexions sur l'art sibérien et l'art chinois, à propos de bronzes de la collection David-Weill' in Documents, vol.1, 1 April 1929, p.13, and later sold at Sotheby's New York, 7 June 2007, lot 89. See also a related Ordos bronze animal belt plaque, 4th century BC, which was sold at Bonhams London, 5 July 2018, lot 161. See also a related bronze plaque, Ordos, 2nd century BC, with a raptor attacking a goat, in the Metropolitan Museum of Art, New York, (acc.no.2002.201.126).鄂爾多斯 公元前二至一世紀 青銅鏤空動物紋飾牌一對來源：巴黎Robert Rousset（1901-1981）舊藏巴黎Jean-Pierre Rousset（1936-2021）舊藏For further information on this lot please visit Bonhams.com
Lot 18
ORNEMENT EN BRONZE EN FORME D'OISEAUDynastie Han (206 avant J-C - 220 ap. J.-C)A BRONZE BIRD FITTINGHan Dynasty (206 BC-220 AD)Well cast as a bird with open wings and curved beak, the wings and chest pierced with small hoops for attachment. 7cm (2 6/8in) wide.Footnotes:Provenance:Robert Rousset, Paris (1901-1981), acquired prior to 1935Jean-Pierre Rousset, Paris (1936-2021)漢 銅鳥飾 來源：巴黎Robert Rousset（1901-1981）舊藏，於1935年前入藏巴黎Jean-Pierre Rousset（1936-2021）舊藏For further information on this lot please visit Bonhams.com
Lot 19
COUTEAU EN BRONZE ARCHAÏQUE, DAODynastie des Zhou orientaux/Han (770 avant J.-C – 220 ap. J.-C)AN ARCHAIC BRONZE KNIFE, DAOEastern Zhou/Han Dynasty (770 BC-220 AD)Cast with a curved blade and ring handle. 28cm (11in) long.Footnotes:Provenance:Robert Rousset, Paris (1901-1981), acquired prior to 1935Jean-Pierre Rousset, Paris (1936-2021)東周/漢 青銅環首刀 來源：巴黎Robert Rousset（1901-1981）舊藏，於1935年前入藏巴黎Jean-Pierre Rousset（1936-2021）舊藏For further information on this lot please visit Bonhams.com
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