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Lot 20
A 19th Century French spelter bronze and red rouge veined marble figural mantel clock and garniture suite / set. Comprises a clock with two figures of classical maiden standing above the clock with gilt filigree decorated face and faceted hands. The clock having scrolled hairy paw feet with grotesque face masks. The matching garnitures having similar decoration. Complete with key and pendulum striking on a bell with makers mark behind. M for Marque of France. Measures approx; 63cm tall.
Lot 260
An Edwardian bronze and ormolu three branch desk / table lamp light having three reeded scroll arms with light fittings and faux candle surrounds. Open tapering stem with ormolu supports on lion paw feet and further applied swags. Raised on a circular base on scroll feet supports. Measures approx; 55cm x 37cm diameter.
Lot 279
A 19th Century Victorian Art Nouveau oil lamp stand having a classical ormolu bronze oil lamp holder with cherub face masks and pierced leaf decoration. The central clear glass fluted column having cut back turquoise blue glass and all raised on a large bronze acanthus leaf pedestal circular base. Complete with a Lampe Veritas oil burner with frosted shade and flume. Measures approx; 87cm tall.
Lot 293
After Gian Federigo Bonzagna - A pair of 18th Century Religious relief bronze plaques comprising one depicting The Death Of Christ with Christ being removed from the cross and the other the Birth Of Christ with adoration by the Shepherds. Both set within frames. Highly detailed examples. Measures approx; 20cm x 15cm.
Lot 371
An early 19th Century Regency period rosewood sofa table writing table desk having a good grain top with twin drop leaves raised on a tapering octagonal column over four leg quadruped rosewood base with bronze hairy paw feet with castors. A single long drawer hidden to the frieze on both sides. Measures approx; 72cm x 106cm x 75cm.
Lot 451
A 19th Century Victorian religious ormolu gilt bronze sculpture of Madonna with child with both wearing a crown, full garments and stood upon a cloud with cherub faces peering. Raised on an onyx plinth base. Copy of the original situated in Notre Dame. Wear commensurate with age mostly to the gilt work. Measures approx; 23cm x 10cm x 8cm.
Lot 504
A 19th Century Chinese Oriental Qing Dynasty cloisonne champleve enamel bronze jardiniere / planter of large size. The planter having cast repeating Key and wave geometric patterns with cloisonne band to the body. Raised on a circular foot base. Some minor wear to the enamel commensurate with age, overall good condition. Measures approx; 23cm x 30cm.
Lot 541
A 19th Century Qing Dynasty Chinese / Oriental bronze cow incense burner. A working cow depicted standing with its head raised wearing a saddle & reins. The saddle is detachable in order to burn incense. Condition; small sign of repair beneath saddle & wear commensurate with age. Measures approx; 23cm x 30cm x 10cm.
Lot 563
An early 20th Century Chinese Republic Lung-Ch'ing Longqing Dynasty style cloisonne bowl. Round shaped bowl with accentuated lip made from bronze & decorated with enamel cloisonne. The inside of the bowl depicting a colourful yellow dragon guarding the flaming pearl. To the outside two traditional Chinese / Oriental dragons fighting over the flaming pearl on a background of traditional clouds / smoke. The rim & base are adorned with repeating pattern in turquoise blue & marked as Lung-Ch'ing Longqing dynasty. Condition; wear commensurate with age, some visible damage to enamel. Measures approx; 20cm.
Lot 583
A 19th Century Chinese Cantonese Canton region porcelain centrepiece bowl having hand painted famille rose decoration with scenes of figures, birds and insects with intricate botanical patterns and gilded highlights. The bowl mounted in ormolu bronze mounts with pierced rim, scrolled handles raised on tripod base. No visible signs of major damage. Measures approx. 17cm x 26cm.
Lot 70
An important late 18th Century Italian biscuit porcelain figurine depicting the Sleeping Child believed to be a Vatican commissioned example in the manner of Artus Quellinus the Elder (1609-1668) inspired by François Duquesnoy his teacher. The figure possibly from the workshop of Giovanni Volpato (1735-1803) and commissioned by the Vatican for Pope Pius VI. Pius was good friends with Volpato and gave him permission to open a porcelain shop in Rome to sell well known copies of marble and bronze statues as souvenirs for the Grand Tour. The figure holding a flower in his unturned hand which appears to be a subtle message referring to Pope Pius VI death in 1799, honouring his 23 year reign or the Purity of Christ as other examples have an empty hand. The figure of a cherub / putti on plinth base with punch stamped mark to underside. Measures approx; 14cm x 8cm. A 1741 soft paste example can be found in the British Museum
Lot 61
Neo-Gothic clock. France, ca. 1840.Bronze.Wooden base.With First Empire movement.Measurements: 66 cm. high.Table clock in bronze, with an architectonically inspired design. It represents a gothic church reproduced in its smallest details: with a slender bell tower, high pinnacles flanking a façade with an openwork door with an ogival profile, figures of medieval pages worked in relief, small rosettes and a large central rosette that functions as the clock face. The Roman numerals and black baguet-type hands stand out against the gilt background.
Lot 84
Louis XVI table clock. France, ca. 1770.Mercury-gilt bronze and marble. Hand-painted enamelled dial.Paris movement running.Measurements: 34 x 34 x 15 cm.This table clock has a marble base ornamented with floral reliefs, on which the clock itself rests, with a hand-painted enamel dial and Arabic numerals. The structure rests on six small button-like legs. Resting on this clock is a beautiful sculptural group featuring a young robed lady, a small dog and a cherub with graceful features. The decorative nature of the piece is enhanced by the beautiful mercury-gilt bronze work, as well as the floral forms and lacework that complete the composition. Formally, the figuration is directly inspired by ancient classical art, a constant reference in the arts of this period.
Lot 47
Fittings with Egyptian motifs, late 19th century.Bronze.Measurements: 50 cm. height clock; 44 cm. height glasses.Table clock with harness, in bronze, whose design reproduces motifs of Egyptian inspiration: several sphinxes worked in round bulk decorate the bases, feminine figures like priestesses (also in round bulk) surround the cups; two obelisks with hieroglyphs accompany the case of the clock, where a pharaoh and his consort are represented, assimilated respectively to the gods Horus and Hathor. The dial, with gilded hands and numerals, has Roman numerals.
Lot 126
GABRIEL VIARDOT (Paris, 1830-1906).Display cabinet.In carved walnut wood. Gilt bronze applications.With key.Signed.Measurements: 173 x 81 x 41 cm.Chinese-Japanese furniture whose main body opens by means of three glass panels that allow to see the upholstered interior. Its light, stylised structure features elements frequently found in Gabriel Viardot's ornamental background, such as the dragon in high relief at the top and the oriental influence of the rest of the piece of furniture. It is an architecturally conceived display case, raised on mixtilinear legs of typically oriental character, with a waist decorated with a fretwork border, a hinged door with a mixtilinear profile and a top conceived as a traditional Chinese roof. The latter is notable for its upturned eaves, a type of decoration that appeared during the Han dynasty (206 BC - 220 AD) and was the standard type used until the Song dynasty (960 - 1279).Gabriel Viardot was a cabinetmaker specialising in the production of furniture of the "Sino-Japanese genre". He began his career as a wood sculptor in 1849, when he sent some pieces of naturalistic decorative furniture to the horticultural exhibition. He then became the head of a small team of sculptors when he was only 19 years old. In 1853, he had a factory and a furniture shop located in Rambuteau. At this time, Gabriel Viardot worked with his brother Louis Gustave under the name "Viardot Brothers and Co.". In 1860, he opened his own workshop, "G. Viardot" in Grand-Chantier, a family business which he maintained until 1872. He decided to devote himself to "Sino-Japanese style furniture", which he saw predominantly at the 1867 World's Fair. At the same exhibition, Viardot won four medals. It was for this production that he was awarded a silver medal at the 1878 World's Fair. His furniture was produced thanks to lacquered and carved panels sent directly from China or Japan and decorated with mother-of-pearl inlays from Tonkin. Of the bronze ornaments he made all the designs by hand. Over the years, his success continued to grow, especially at the Nice exhibitions and the eighth exhibition of the Central Union of Decorative Arts in 1884. In 1885, he took part in the World Exhibition in Antwerp, where he won a gold medal. At this time, the shop employed 90 to 100 workers, sculptors or cabinetmakers. After this exhibition, Viardot was promoted to the rank of Chevalier in the Legion of Honour (29 December 1885). In 1889, he took part in the World Exhibition held in Paris and received a gold medal. He won the same prize at the 1900 World's Fair.
Lot 9
Etargere table, Louis XVI style, mid-20th century.Wood, marble and gilded bronze.Measurements: 78 x 81 x 49 cm.Etargere table supported on two feet joined in the centre. The table consists of three different levels, all of them made of gilded bronze, and designed in the same format. An oval perimeter which is repeated, increasing its dimensions in the upper area.
Lot 82
Important cabinet Napoleon III. France, late 19th century.Satinwood. With marquetry of fruit wood and boxwood, ebonised wood, mother-of-pearl inlay and gilt and patinated bronze applications.Measurements: 190,5 x 125 x 39 cm.French Cabinet of Napoleon III style, dated at the end of the 19th century, raised on table with stipe legs connected by means of chambrana. The furniture stands out for its classical forms, which are adapted to a dynamic ornamental pattern, in which the interplay of volumes and materials provides great expressiveness, breaking with the rigidity of the most purist classicism. The cabinet itself has a prismatic structure, typical of this typology, and has two large hinged doors that conceal two shelves inside. The exterior of the cabinet is richly decorated with marquetry, with Renaissance-inspired candelieri ornamentation, which was widely used in France and Spain in different artistic periods. It is a highly stylised, variegated decoration made up of vegetal elements that resemble candelabra, an aspect that determined the term 'candelieri' as it is known in Italian. The exceptional nature of this piece is further enhanced by the mother-of-pearl inlay that completes its front, as well as the gilt-bronze floral motifs that complement the design. In the Napoleon III style, the whole piece is decorated with gilt and patinated bronze applications which, like the rest of the decoration, are continued on the sides of the piece. These are plant motifs that run along the upper friezes on both sides of the table and the cabinet itself. The decoration culminates in certain ebonised elements, both on the legs and on the profile that delimits the candelieri decoration on the front, which increase the dynamism and the play of materials that dominate the entire piece of furniture.
Lot 68
Office table, Louis XVI style, mid-twentieth century.Wood, brass and bronze.Key preserved.The top is warped, the top is broken, with faults and loss of brass.Electrified table.Measurements: 75 x 201 x 91.5 cm.Electrified wooden desk with drawers with brass handles. It has a rectangular top, supported by four rectangular section legs, with drawers at the front. It has a structure of refined lines, softened by simple contours, which give the forms a certain organic appearance without renouncing the expressive power of geometry. This formal conception was characteristic of Louis XVI style furniture.
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