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Lot 12
French Empire Louis XVI secretary abattant desk with a gray marble top. The desk with a folding top that opens to reveal two shelves and six small drawers. The lower half with two doors that open to reveal two shelves for storage. Mounted throughout with ornate gilt bronze ormolu decoration. The writing desk stays open when unlocked and may rest on the open doors. Key not included.Provenance: Nakashian O'Neil, Minnesota; Private Minnesota Collection.Height: 57 in x width: 36 in x depth: 15 1/2 in.
Lot 18
Dutch musical tall case clock, 18th c., Johannes Van Wyk, Amsterdam. The brass dial is engraved with a profusion of scrolling foliage. The engraved silvered chapter ring with Roman numerals signed Johannes van Wyk Amsterdam, foliate pierced hands and subsidiary seconds, apertures for date and moonphase with delicate Classical inspired illustrations. With twelve bells, and the hour strike on a separate bell. The case is burlwood veneered with marquetry decoration, and rests on four claw and ball feet. With a bell top surmounted by a gilt bronze figure of Atlas holding a polychromed globe, flanked by two gilt bronze winged figures. The lenticle decorated with a gilt bronze figure with an hourglass, surrounded by elaborate scrolling decoration.Provenance: Charles Kengen Antiquairs, Amsterdam; distinguished private collection, Minnesota.Height: 108 in x width: 25 1/2 in x depth: 14 in.
Lot 31
Pair of 19th century French neoclassical Egyptian revival Victorian bronze garniture urns with painted black and red decoration. With mask handles in the form of the heads of pharaohs. On a stepped base with a double-headed eagle along one side. One side of each urn with painted and incised decoration depicting various Egyptian motifs and a depiction of Horus on one and Isis on the other.Height: 16 in x width: 6 1/2 in x depth: 6 1/2 in.
Lot 43
French Sevres style gilt bronze writing box. With floral and scenic porcelain plaques hand painted against a turquoise blue (bleu celeste) ground. The inside lined with blue silk. Two silver capped ink wells rest within. The base of the box is trimmed with pierced gilt bronze ormolu with legs cast as figural women.Height: 6 in x width: 13 in x depth: 12 3/4 in.
Lot 45
Pair of French old Paris Sevres style porcelain lamps with gilt bronze mounts. The neck in the form of three putti holding the stem of the lamp aloft. Each porcelain base painted with two reserves of flowers and birds surrounded by a gilt frame against a turquoise blue (bleu celeste) ground.Each (without shade); Height: 31 3/4 in x width: 6 1/2 in x depth: 6 1/2 in
Lot 46
Pair of French old Paris Sevres style porcelain lidded urns. Each hand painted with scenes of two figures in the countryside framed by gilt accents against a yellow (jaune) ground. The other side painted with bouquets of flowers. Mounted with gilt bronze ormolu fittings, stands, and finials. The ormolu handles in the form of goat's heads clutching wreaths in their mouths. Marked along the underside with a Sevres mark indicating a date of 1753.Each; Height: 16 3/4 in x diameter: 3 3/4 in.
Lot 47
Large French old Paris Sevres style porcelain urn. One side painted with a scene of two lovers strolling through a garden; the other with an idyllic countryside. The painting is signed "L. Bertreri." The reserves are framed by ornate gilt scrollwork frames against a deep cobalt blue (beau bleu) ground. With bronze mounts and handles in the form of garlands. The inside of the lid and the base are marked with a Sevres mark indicating a date of 1754.Height: 32 in x width: 11 1/2 in x depth: 9 1/2 in.
Lot 49
Pair of French old Paris Sevres style porcelain urns. Each with oval reserves depicting two figures in the countryside framed by gilt accents on a dark blue (beau bleu) ground. The other side with an idyllic landscape framed by gilt palm leaves. Mounted with gilt bronze ormolu mask handles, finials, and bases. Illegibly signed along the lower edge of the painting.Each; height: 20 1/2 in x width: 7 1/2 in x depth: 6 in.
Lot 104
Harness. France, S. XIXTable clock in glass and mercury-gilt bronze.It presents small faults in the upper part of the crystal in one of the fittings.Measurements: 30 x 25 x 12 (clock), 29,5 x 10 x 10 cm (garnish).Table clock with glass and mercury-gilt bronze garnish. The clock, presents a base of crystal, on four legs of gilded bronze to the mercury and with ornamentation of the same material, on this base, two cherubs rise up that on their shoulders support the case of the clock, with a white dial, with machinery seen in the central part, black Roman numeration to strokes and openwork needles. The trimming forms an exquisite set with the main piece, and maintains a continuous conductive thread as it is the crystal and the cherubs.
Lot 112
Music box; 19th century.Gilt bronze and gilt silver.Measurements: 4.5 x 3 cm.Music box in the shape of a stamp with a Louis XV coin motif, located on the base. This type of objects were very appreciated from the 19th century, with a great variety of models, factories, materials, etc., normally trying to hide the mechanism that moves them for a greater surprise in the spectator and often accompanied by a musical mechanism. However, they were always intended for the upper classes, since their construction and design required high quality and mastery due to the delicate machinery and materials chosen.
Lot 114
Marble mortar, 17th-18th centuries.Measurements: 12 x 30 x 28 cm.One-piece marble mortar, with a semi-ovoid container and lateral ribs in the shape of a corbel.In ancient recipe books there are a large number of recipes based on the use of the mortar, a tool which, although it is hardly used nowadays, was so varied in its use in the past that every kitchen had a wide variety of them, from large ones for pounding meats and vegetables to smaller ones for grinding spices. Even in antiquity there were large mortars made of bronze to grind and mix marble or lime, which were used to make construction binders or plaster, such as stucco.
Lot 115
Set of three stone mortars.Spain, late 17th - early 18th century.Sizes: 15 x 22 x 28 cm, 16 x 26 x 26 cm, 17 x 29 x 29 cm (respectively).In ancient recipe books there are a large number of recipes based on the use of the mortar, a tool which, although it is hardly used nowadays, was so varied in its use in the past that every kitchen had a wide variety of them, from the larger ones for pounding meat and vegetables to the smaller ones for grinding spices. Even in antiquity, there were large mortars made of bronze for crushing and mixing marble or lime, which were used to make construction binders or plaster, such as stucco. The Roman poet Juvenal mentioned it in articles for the preparation of drugs, reflecting the early use of this instrument in apothecaries. The antiquity of mortars is also well documented in some works of ancient literature, such as the Egyptian Ebers Papyrus, dating from 1550 BC, which is considered one of the oldest documents on medicine in Ancient Egypt. It is also mentioned in the Old Testament. Good mortars must be heavy or made of strong materials to withstand prolonged pounding and thus reduce the substances to powder. The mortar must not be brittle, as it would break during the pulverising operation. The material must also be cohesive so that its surface does not wear away and mix with the ingredients.
Lot 16
Louis XVI style clock; France, late 19th century.Gilt bronze.No key or bell.The lid does not close properly.Measurements: 41 x 37 x 15 cm.Clock made in gilded bronze with a base with a skilfully carved latticework, which is supported by four legs. The base, in addition to the trellis, has an oval-shaped cartouche in the centre with a relief showing a musical instrument. Above the base are two spread-winged eagles, which support the circular clock case. The dial, which stands out for its sobriety, is completed by a rounded ornamentation that runs around the outer perimeter of the case. These decorative elements are formed by bouquets of flowers that end in a group of roses at the top of the case.
Lot 17
Bracket clock; late 19th century.Wood and bronze.Measurements: 65 x 34 x 21 cm.Bracket type table clock, with a wooden core and ornamental bronze applications in relief and round bulge. It presents a front of simple architectural composition, with a façade finished off with a semicircular arch raised on a moulded base, raised in turn on four bronze legs. The whole has a sloping top with curved angles. The white-gilt dial has Arabic numerals in black and two hands.English bracket clocks originated in the 17th century in the 1960s, when the pendulum was applied to the clock to replace the previous 'foliot' or balance regulator. This change made it necessary to provide the mechanism with a case to protect it from shocks that could alter its movement. This is how transportable watches came into being. These were short case pieces, which housed inside them a mechanism held between two thick plates and containing, as the driving force for each train, a combination of a hub and a snail. These clocks were originally intended to be placed on a bracket, hence their English name. Throughout the 18th and 19th centuries, English clocks were evidence of the stylistic evolution that developed in English cabinetmaking, starting with the William and Mary and Queen Anne models, passing through the Chippendale and Hepplewithe styles and finally returning to classicism with the Adam, the Sheraton and finally the Regency.
Lot 24
Boulle style clock; France, Napoleon III period, second half of the 19th century.Bronze and ebonised wood.Movement Paris Japy Frères et Cie.Retains its original key.There are clocks by this author in the BBVA collection.Purchased in the shop Ls Roussy in the Arcades du Capitole Toulouse.Measurements: 46 x 25 x 13.5 cm (total measurements).This clock follows the models created by André Charles Boulle (1642-1732) during the reign of Louis XIV. It is decorated with the marquetry typical of this artist, in ebony and metal, and important motifs in relief and rounded bulge, including figurative elements, which in the case of Boulle's furniture were carved pieces in wood, here already applied bronzes more typical of the style of the period. The decoration is completely Baroque, in the style of the French decorative arts of the last period of Louis XIV's reign. This is because this period was key in the development of the decorative arts in the period of Louis XVI, as designers and artists looked to the Regency style, the transition from Baroque (classical) to Rococo (anti-classical), in search of formulas for the transition from the Rococo style to the new Neoclassical. These creations showed the great importance of classicist figuration, with allegorical figures adorning the front and the finial, as well as fantastic figuration derived from baroque chinoiserie, an architectural structure also baroque, chromatic contrast typical of Boulle and a profusion of motifs such as turnstones, leaves, masks and classical vases that seem to have been taken directly from the ornamental background of the French classicist baroque. Even the basic material, ebony wood, can be related to that period, as it was the most popular wood in Baroque furniture. However, the profusion of gilding speaks of a different period, somewhere between the neoclassical and the Empire.
Lot 26
Louis XVI clock; France, late 18th century.Bronze and mercury gilt bronze on marble base.The pendulum is missing. Crack on the front.Measurements: 57 x 25 x 25 cm.Period table clock in Louis XVI style, in bronze. With a design of architectural inspiration, on a marble base there is a smooth and sober bronze cylinder that holds the clock case. The clock face is circular, with Roman numerals in black on a white background, bordered by a large mercury-gilded bronze frontispiece with various geometric decorations, which appears to be a coat of arms belonging to a proxy family. It is topped by a cup-shaped top with bronze and mercury-gilded bronze handles.
Lot 33
Harness; France, second half of the 19th century.Bronze and marble.It has Paris machinery.The assembly is unstable and the pendulum is missing.It needs to be overhauled.Measurements: 72 x 27 x 15 cm (x2): 62 x 72 x 22.5 cm (clock).This garniture consists of a table clock and a pair of candlesticks. The clock consists of a moulded podium, in which the colour white is combined with the darkness of the black used for the ornamental details and the top of the steps of the clock's structure. On the first podium or plinth is the centre of the clock case, with a white dial and Roman numerals and openwork hands. A figure rests on the clock case. The candlesticks, for their part, have mixtilinear bases on which are placed shafts designed as trees, on which rests the figure of a soldier.
Lot 44
Candelabra with Athena Nike after Empire models of ca. 1810. France, 19th century.Gilt and patinated bronze.It presents instability in the base.Measurements: 69 x 33 x 17 cm. Candelabra of this type were very common in the 1st Empire and, because they were inspired by them, in the 2nd French Empire. In both cases, the influence of classical decorative elements is clear, both in the reliefs and in the human figures on the pedestals (in this case the winged Athena Nike), always with marked straight lines. The goddess holds four horns of abundance which act as arms to support the candles.
Lot 45
IGNACIO GALLO ROS ( Valladolid , 1887- d.1956)."Ballerina".Art Deco sculpture, ca. 1915.Polychrome bronze and marble.Signed on the marble.Slight wear marks due to the passage of time.Measurements: 29 x 11 x 6 cm (figure); 12 x 13 x 7 cm (base).Art Decó sculpture, ca. 1915 in hand-polychromed bronze, representing a dancer executing a dance step with great ease, wearing a shawl-like dress and showing us a bare breast. On a marble base with veined pieces.Ignacio Gallo studied at the San Fernando School in Madrid, where he was a pupil, at least in 1906 and 1907, of Muñoz Degrain and Alejo Vera. In 1912 he travelled to Paris, this time accompanied by the Valladolid violinist Julián Jiménez. That same year he appeared for the first time at the Paris Salon, exhibiting his work Apóstol. He worked in Paris for a long time making Art Deco sculptures, a job in which he would achieve a certain renown. He worked between 1910-1935 in the Seine capital, specialising in the manufacture of statues of bathers, dancers, nudes and pagan goddesses. His main foundry was that of Marcel Guillemar.
Lot 354
OrdensspangeKaisserreich 1870/71 - 1918, Preussen und Bayern, 1 x Bayern, Landwehr-Dienstauszeichnung; 1 x Eisernes Kreuz 1813-1870; 1 x Auszeichung für Kriegshilfsdienst, 1916, Preussen; 1 x Prinzregent-Luitpold-Medaillie, Bronze; 1 x Königlicher Kronenorden, Preussen; 1 x König-Ludwig-Kreuz in Schwarz, Bayern; jeweils an passigem Band, leichte Altersspuren.
Lot 628
HerrscherpaarKambodscha, wohl 19./20. Jh., Bronze patiniert, Fragmente eines stehenden Paares, je den Oberkörper entblöst und lange Beinkleider tragend, die Gesichter mit sanftem Lächeln und langen Ohrläppchen, sie mit geflochtener Frisur, er mit Herrscherdiadem, je auf Stand, H: 45,5 cm. Ber., best.
Lot 607
6 asiatische PlastikenBronze u. a., Indonesien/Indien u. a., best. aus: 1x stehender Miniaturbuddha, wohl Thailand; 2x Kleinbronzen, Indonesien; 1x Ganesha auf Lotussockel sitzend, Idonesien; 1x tanzender Krishna mit Butterball, wohl Indien; 1x Schwein mit balinesischem Kopfschmuck, Indonesien, H: ca. 6-10,5 cm. Altersspuren.
Lot 1732
Bildhauer des 19./20. Jh.wohl Franz Xaver Bergmann. "Rotkäppchen als Lampe", Wiener Bronze, polychrome Kaltbemalung, vollplastische Ausführung der Szene, in der das Mädchen auf den Wolf trifft, bodenseitig mit Krugmarke "B" sowie Nummer und bez. Elektrifiziert, Funktionstüchtig, H: 26 cm. Altersspuren, leicht besch.
Lot 1768
Nuss, Karl UlrichGeb. 1943 in Stuttgart, Bildhauer in Strümpfelbach, 1969 Meisterschüler von B. Heiliger, Prof.. "Sitzende", Bronze, vollplastische abstrahierte Figurendarstellung einer sitzenden Dame, mit übereinabdergeschlagenen Beinen, verso am Sitzhocker sign. "U NUSS", H: ca. 13 cm. Lit.: Gert K. Nagel, Schwäbisches Künstlerlexikon.
Lot 438
8 Orden1939, 2 x Kriegsverdienstkreuz 2. Klasse, Bronze, je m. gr. Ring und Band; 3 x Kriegsverdienstkreuz mit Schwertern je mit Öse und Ring, 2 x mit Band, 1 x Verleihungstüte bez.; 3 x Orden Winterschlacht im Osten, Feinzinn, je mit Öse und Ring, je mit Band, guter Zustand, Winterschlachtorden mit part. Altersspuren.
Lot 443
Nahkampfspange in Bronze2. WK, Tombak bronziert, mittig geschweiftes Viereck, oben 1 Adler mit Hoheitszeichen, im Zentrum gekreuzte Handgranate und Seitengewehr, magnetisches Plättchen eingequetscht, seiltich Eichenlaubblätter auf geriffelten Rauten, gepunzt: Fec: W.E.Peekhaus Berlin, Ausf. A.G.M.u.K. Gablonz, flache Nadel ohne Spitze. kaum Altersspuren.
Lot 1243
Charles X.-Pendule mit sich spiegelndem Amorum 1820/30, Emaillezifferblatt mit römischen Stunden und Breguetzeigern, Platine nicht gemarkt, Pendel an Fadenaufhängung (gerissen), Schlag auf Glocke, gesockeltes Uhrengehäuse mit sich selbst bekränzendem Amorknaben vor echtem Spiegel, dazu eine Feuerschale auf Säule mit Köcher, Bronze feuervergoldet, HxBxT: 32,5/24/9 cm. Nicht auf Funktion geprüft. Fadenaufhängung gerissen, Uhrenglas fehlt, berieben, Zifferblatt mit Haarrissen.
Lot 531
Paar große Porzellanvasen als LampenChina, 19. Jh., Bronze/vergoldet, Paar Balustervasen aus seladonfarbenem Scherben, polychr. Aufglasurdekor mit Insekten- und Floralmotiven im "Famille rose"-Stil, mit drachenförmigen, goldfarbenen/grün emaillierten Handhaben, Basis und Mündung mit vergoldeter, aus Akanthus-, Lorbeerblatt und Blütenmotiven geformter Bronze montiert, nachträglich elektrifiziert, auf Funktion geprüft, H: 70/115 cm. Handhaben mit übermalten Fehlstellen, Alters- und Gebrauchssp., prod.bed. Fehler, ber., best..
Lot 1723
Jaeger, GotthilfKöln 1871 - 1933 Berlin, Bildhauer. "Schreitender Bergmann", Bronze, vollplastische Ausführung eines Mannes mit Beil und Grubenlampe, in gebückter Schrittstellung, auf ovalem Terrainsockel Künstlersign. "G. Jäger", seitl. bez. "J. Kuschmitzky (?)", H: ca. 60 cm. Alters- und Kratzspuren, part. ber..
Lot 1789
Bildhauer/in des 20. Jh."Büste Richard Strauss", Bronze, patiniert, vollplastische, leicht stilisierte Ausführung, auf einem Steinsockel montiert, innenseitig angebrachter Klebezettel "GSMBK 337" (Gesellschaft Schweizerischer Malerinnen, Bildhauerinnen und Kunstgewerblerinnen), H: 33/45 cm. Laut Schriftverkehr mit der Gesellschaft könnte es sich mutmaßlich um eine Arbeit von Hedwig Frei 1905-1958, Tochter des Médailleurs Hans Frey (Basel) handeln (nicht bestätigt).
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