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Furniture & Sculptures

Thursday 27 March 2014, 10.00 AM



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LARGE MANTEL CLOCK WITH PLANETARIUM, Empire/Restoration, after the model by Z.J. RAINGO (Zacharie Joseph Raingo, called L'Ainé, Mons 1775-1847 Brussels), signed ANTIDE JANVIER A PARIS (Antide Janvier, 1751 Paris 1835), Paris ca. 1810/20. Cuba mahogany, in veneer. Temple-shaped case with planetarium on top. Silver-plated bronze dial with Roman hour numerals and day of the week and signs of the zodiac. Four fine, partly blued Breguet hands. Anchor escapement striking the 1/2-hour on bell. Planetarium with the Earth, the sun, the moon and planets makes one full rotation in 365 days. Clock: D 29 cm. H 59 cm. Base: D 29 cm. H 112 cm. Provenance: - former Collection P. Izarn, Paris. - from a French collection.

Empire/Restauration, nach dem Modell von Z.J. RAINGO (Zacharie Joseph Raingo, gen. L'Ainé, Mons 1775-1847 Brüssel), sign. ANTIDE JANVIER A PARIS (Antide Janvier, 1751 Paris 1835), Paris um 1810/20.
Kuba-Mahagoni gefriest. Tempelförmiges Gehäuse mit Planetariumaufsatz und 4 frei stehenden Rundsäulen auf profiliertem Rundsockel. Versilbertes Bronzezifferblatt mit römischen Stundenzahlen sowie Angaben für die Wochentage und Sternzeichen. 4 feine, teils gebläute Breguet-Zeiger. Ankerwerk mit 1/2-Stundenschlag auf Glocke. Sich in 365 Tagen komplett drehender Planetariumaufsatz mit Erdkugel, Sonne, Mond und Planeten sowie Angaben zu den Sternzeichen und Wochentagen. Auf entsprechendem Säulenpostament mit drehbarem Plateau und Quadersockel sowie ausserordentlich feinen, matt- und glanzvergoldeten Bronzeapplikationen. Uhr: D 29 cm. H 59 cm. Postament: D 29 cm. H 112 cm.
LARGE MANTEL CLOCK WITH PLANETARIUM, Empire/Restoration, after the model by Z.J. RAINGO (Zacharie Joseph Raingo, called L'Ainé, Mons 1775-1847 Brussels), signed ANTIDE JANVIER A PARIS (Antide Janvier, 1751 Paris 1835), Paris ca. 1810/20. Cuba mahogany, in veneer. Temple-shaped case with planetarium on top. Silver-plated bronze dial with Roman hour numerals and day of the week and signs of the zodiac. Four fine, partly blued Breguet hands. Anchor escapement striking the 1/2-hour on bell. Planetarium with the Earth, the sun, the moon and planets makes one full rotation in 365 days. Clock: D 29 cm. H 59 cm. Base: D 29 cm. H 112 cm. Provenance: - former Collection P. Izarn, Paris. - from a French collection.
LARGE MANTEL CLOCK WITH PLANETARIUM, Empire/Restoration, after the model by Z.J. RAINGO (Zacharie Joseph Raingo, called L'Ainé, Mons 1775-1847 Brussels), signed ANTIDE JANVIER A PARIS (Antide Janvier, 1751 Paris 1835), Paris ca. 1810/20. Cuba mahogany, in veneer. Temple-shaped case with planetarium on top. Silver-plated bronze dial with Roman hour numerals and day of the week and signs of the zodiac. Four fine, partly blued Breguet hands. Anchor escapement striking the 1/2-hour on bell. Planetarium with the Earth, the sun, the moon and planets makes one full rotation in 365 days. Clock: D 29 cm. H 59 cm. Base: D 29 cm. H 112 cm. Provenance: - former Collection P. Izarn, Paris. - from a French collection.

Sold for CHF 240 000

ASTRONOMIC LONG CASE CLOCK "A EQUATION", so-called "Gutwein-Uhr", Louis XV, the movement is from a Wurzburg master workshop, probably NESTFELL-FELLWECK (Johann Georg Nestfell, 1694-1762 and Johann Georg Fellwöck, 1728-1810), Southern Germany ca. 1760. Purpleheart in veneer, finely inlaid with cube marquetry "en papillon" and ornamental frieze. Base with grey/beige marble plate. Silver-plated bronze dial with hours in Roman numerals and minutes in Arabic numerals. With indication for sun time, date, world time, signs of the zodiac, and North Pole projection. 5 fine, partially gilt and blued hands. Fine anchor escapement 80 days power reserve, intricate calendar movement. Fine, gilt bronze mounts and applications. Movement requires servicing. Alterations. H 202 cm.

sog. "Gutweinuhr", Louis XV, das Werk aus einer Würzburger Meisterwerkstatt, wohl NESTFELL-FELLWECK (Johann Georg Nestfell, 1694-1762 und Johann Georg Fellwöck, 1728-1810), süddeutsch um 1760.
Veilchenholz gefriest sowie fein eingelegt mit Würfelmarketerie "en papillon" und Zierfries. Mehrfach geschweiftes, rechteckiges Gehäuse mit bogenförmigem Abschluss und Pendelsichtfenster auf mehrfach bombiertem Sockel mit grau/beiger Marmorplatte. Versilbertes Bronzezifferblatt mit römischen Stunden- und arabischen Minutenzahlen sowie Angaben für die Sonnenzeit, Datum, Weltzeit im Jahreskalender, Tierkreise und Nordpolprojektion. 5 feine, teils vergoldete und gebläute Zeiger. Feines Ankerwerk mit 80-Tagedauer, Äquationswerk und aufwändiges Kalenderwerk. Feine, vergoldete Bronzebeschläge und -applikationen. Werk zu revidieren. Ergänzungen. H 202 cm.
ASTRONOMIC LONG CASE CLOCK "A EQUATION", so-called "Gutwein-Uhr", Louis XV, the movement is from a Wurzburg master workshop, probably NESTFELL-FELLWECK (Johann Georg Nestfell, 1694-1762 and Johann Georg Fellwöck, 1728-1810), Southern Germany ca. 1760. Purpleheart in veneer, finely inlaid with cube marquetry "en papillon" and ornamental frieze. Base with grey/beige marble plate. Silver-plated bronze dial with hours in Roman numerals and minutes in Arabic numerals. With indication for sun time, date, world time, signs of the zodiac, and North Pole projection. 5 fine, partially gilt and blued hands. Fine anchor escapement 80 days power reserve, intricate calendar movement. Fine, gilt bronze mounts and applications. Movement requires servicing. Alterations. H 202 cm.
ASTRONOMIC LONG CASE CLOCK "A EQUATION", so-called "Gutwein-Uhr", Louis XV, the movement is from a Wurzburg master workshop, probably NESTFELL-FELLWECK (Johann Georg Nestfell, 1694-1762 and Johann Georg Fellwöck, 1728-1810), Southern Germany ca. 1760. Purpleheart in veneer, finely inlaid with cube marquetry "en papillon" and ornamental frieze. Base with grey/beige marble plate. Silver-plated bronze dial with hours in Roman numerals and minutes in Arabic numerals. With indication for sun time, date, world time, signs of the zodiac, and North Pole projection. 5 fine, partially gilt and blued hands. Fine anchor escapement 80 days power reserve, intricate calendar movement. Fine, gilt bronze mounts and applications. Movement requires servicing. Alterations. H 202 cm.

Sold for CHF 192 000

RED LACQUER CHEST OF DRAWERS, Louis XV, stamped M. CRIAERD (Mathieu Criaerd, maître 1738), Paris ca. 1760. Wood lacquered all around in the "goût chinois". The centre with 2 sans traverse drawers Exceptionally fine, matte and polished gilt bronze mounts and sabots. Shaped "Campan" top. Restorations and alterations. 129x62x84 cm. Provenance: from a French collection.

Louis XV, sign. M. CRIAERD (Mathieu Criaerd, Meister 1738), Paris um 1760.
Holz allseitig gelackt im "goût chinois"; auf rotem Fond idealisierte Pagoden- und Parklandschaft mit Figurenstaffage. Geschweifter, trapezförmiger Korpus mit vorstehenden vorderen Eckstollen auf wellig ausgeschnittener Zarge mit geschweiften Beinen. In der Mitte gebauchte Front mit 2 Schubladen ohne Traverse. Ausserordentlich feine, matt- und glanzvergoldete Bronzebeschläge und -sabots. Mehrfach profilierte "Campan"-Platte. Restaurationen und Ergänzungen. 129x62x84 cm.
RED LACQUER CHEST OF DRAWERS, Louis XV, stamped M. CRIAERD (Mathieu Criaerd, maître 1738), Paris ca. 1760. Wood lacquered all around in the "goût chinois". The centre with 2 sans traverse drawers Exceptionally fine, matte and polished gilt bronze mounts and sabots. Shaped "Campan" top. Restorations and alterations. 129x62x84 cm. Provenance: from a French collection.
RED LACQUER CHEST OF DRAWERS, Louis XV, stamped M. CRIAERD (Mathieu Criaerd, maître 1738), Paris ca. 1760. Wood lacquered all around in the "goût chinois". The centre with 2 sans traverse drawers Exceptionally fine, matte and polished gilt bronze mounts and sabots. Shaped "Campan" top. Restorations and alterations. 129x62x84 cm. Provenance: from a French collection.

Sold for CHF 168 000

PAIR OF PORCELAIN VASES WITH BRONZE MOUNT, Louis XVI, porcelain from the Manufacture de Sèvres, bronze from Paris, end of the 18th century. Fine porcelain, painted with roses in white wreath rondelles on a cobalt blue ground and gilt bronze. Trophy-shaped vase. Minor losses and alterations. H 27 cm.

Louis XVI, das Porzellan aus der Manufacture de Sèvres, die Bronze Paris, Ende 18. Jh.
Feines Porzellan, bamalt mit Rosen in weissen Kranzrondellen auf kobaltblauem Grund und vergoldete Bronze. Pokalförmige Vase mit fein durchbrochenem Rand, 2 eingerollten Henkeln und Deckel mit Knauf, auf Rundfuss mit Quaderplatte. Kleine Fehlstellen und Ergänzungen. H 27 cm.
PAIR OF PORCELAIN VASES WITH BRONZE MOUNT, Louis XVI, porcelain from the Manufacture de Sèvres, bronze from Paris, end of the 18th century. Fine porcelain, painted with roses in white wreath rondelles on a cobalt blue ground and gilt bronze. Trophy-shaped vase. Minor losses and alterations. H 27 cm.
PAIR OF PORCELAIN VASES WITH BRONZE MOUNT, Louis XVI, porcelain from the Manufacture de Sèvres, bronze from Paris, end of the 18th century. Fine porcelain, painted with roses in white wreath rondelles on a cobalt blue ground and gilt bronze. Trophy-shaped vase. Minor losses and alterations. H 27 cm.

Sold for CHF 132 000

PAIR OF IMPORTANT VASES WITH LIDS "AUX CHASSEURS", Louis XVI, probably German ca. 1800. "Carrara" marble, exceptionally finely carved. H 225 cm. Provenance: - former Collection Hackwood Park Castle, England. - private collection, France.

Louis XVI, wohl deutsch um 1800.
Carrara-Marmor ausserordentlich fein reliefiert; die Wandungen mit Jagdszenen und Figurenstaffage, Lagerfeuer sowie antikisierender Orakelszenerie mit Dionysos. Zylindrischer Gefässkörper mit godroniertem, mit Akanthusblättern verziertem Deckel mit stilisiertem Zapfen, feinen Henkeln in Form von Portraits eines Bärtigen und einer jungen Frau auf profiliertem und muschelbeschmücktem Rundfuss mit Bastionsplatte. H 225 cm.
PAIR OF IMPORTANT VASES WITH LIDS "AUX CHASSEURS", Louis XVI, probably German ca. 1800. "Carrara" marble, exceptionally finely carved. H 225 cm. Provenance: - former Collection Hackwood Park Castle, England. - private collection, France.
PAIR OF IMPORTANT VASES WITH LIDS "AUX CHASSEURS", Louis XVI, probably German ca. 1800. "Carrara" marble, exceptionally finely carved. H 225 cm. Provenance: - former Collection Hackwood Park Castle, England. - private collection, France.

Sold for CHF 126 000

PRINCELY TABLE ORNAMENT, in the Régence style, stamped ODIOT, with mark and coat of arms of the DE CORDIER DE BIGARS family, Paris ca. 1895. Bronze, silver-plated. 66x53x51 cm.

Régence-Stil, sign. ODIOT, mit Marke sowie Wappen der Famile DE CORDIER DE BIGARS, Paris um 1895.
Bronze versilbert. Barkenförmiges Zentralgefäss mit Deckel mit 2 Portrait-Medaillons, Blättern und Artischockenknauf sowie 8 stark geschweiften Lichtarmen mit grossen Tropftellern und vasenförmigen Tüllen mit markanten, blätter- und blumenbeschmückten "Bobèches", auf bastionsförmigem Sockel mit 4 analogen Lichtarmen auf Volutenfüssen "aux bustes de femmes". 66x53x51 cm.
PRINCELY TABLE ORNAMENT, in the Régence style, stamped ODIOT, with mark and coat of arms of the DE CORDIER DE BIGARS family, Paris ca. 1895. Bronze, silver-plated. 66x53x51 cm.
PRINCELY TABLE ORNAMENT, in the Régence style, stamped ODIOT, with mark and coat of arms of the DE CORDIER DE BIGARS family, Paris ca. 1895. Bronze, silver-plated. 66x53x51 cm.

Sold for CHF 126 000

IMPORTANT WEDDING CASKET WITH RELIEFS IN BONE DEPICTING SCENES FROM THE LIFE OF SUSANNA, Renaissance, workshop of the EMBRIACHI (important workshop in Florence in Venice in the 15th century), Venice ca. 1430. Walnut and bone, richly carved with depictions of Susana Bathing. Rectangular, with a hinged lid. The inside of the lid is painted red and blue. Red silk lining. 48x30x34 cm. Provenance: - former Collection Wertheimer, Frankfurt. - Provenance: private collection, Lugano. Expertise by L. Foi, 2008.

Renaissance, Werkstatt der EMBRIACHI (bedeutende Werkstatt in Florenz und Venedig im 15. Jh.), Venedig um 1430.
Nussbaum sowie Bein reich beschnitzt mit figuraler Darstellung aus der Susanna im Bade. Rechteckiger, gestufter Korpus mit Klappdeckel auf kleinen gequetschten Kugelfüssen. Der Deckel innen rot und blau gefasst. Gebrauchter roter Seidenbezug. Ergänzungen. 48x30x34 cm.
IMPORTANT WEDDING CASKET WITH RELIEFS IN BONE DEPICTING SCENES FROM THE LIFE OF SUSANNA, Renaissance, workshop of the EMBRIACHI (important workshop in Florence in Venice in the 15th century), Venice ca. 1430. Walnut and bone, richly carved with depictions of Susana Bathing. Rectangular, with a hinged lid. The inside of the lid is painted red and blue. Red silk lining. 48x30x34 cm. Provenance: - former Collection Wertheimer, Frankfurt. - Provenance: private collection, Lugano. Expertise by L. Foi, 2008.
IMPORTANT WEDDING CASKET WITH RELIEFS IN BONE DEPICTING SCENES FROM THE LIFE OF SUSANNA, Renaissance, workshop of the EMBRIACHI (important workshop in Florence in Venice in the 15th century), Venice ca. 1430. Walnut and bone, richly carved with depictions of Susana Bathing. Rectangular, with a hinged lid. The inside of the lid is painted red and blue. Red silk lining. 48x30x34 cm. Provenance: - former Collection Wertheimer, Frankfurt. - Provenance: private collection, Lugano. Expertise by L. Foi, 2008.

Sold for CHF 108 000

SET OF 8 FAUTEUILS "A LA REINE", Louis XV, ascribed to L. DELANOIS (Louis Delanois, maître 1761), Paris ca. 1760. Moulded beech wood, finely shaped and gilt. Blue silk cover with a fine floral pattern. Gilt, minor chips. 68x60x46x96 cm. Provenance: from a French castle.

Louis XV, L. DELANOIS (Louis Delanois, Meister 1761) zuzuschreiben, Paris um 1760.
Buche mouluriert und fein profiliert sowie vergoldet. Geschweifter, trapezförmiger Sitz auf wellig ausgeschnittener Zarge mit geschweiften Beinen. Flache, bogenförmig abschliessende Rückenlehne mit gepolsterten Armlehnen auf geschweiften -stützen. Blauer Seidenbezug mit feinem Blumenmuster. Wenige Bestossungen in der Vergoldung. 68x60x46x96 cm.
SET OF 8 FAUTEUILS "A LA REINE", Louis XV, ascribed to L. DELANOIS (Louis Delanois, maître 1761), Paris ca. 1760. Moulded beech wood, finely shaped and gilt. Blue silk cover with a fine floral pattern. Gilt, minor chips. 68x60x46x96 cm. Provenance: from a French castle.
SET OF 8 FAUTEUILS "A LA REINE", Louis XV, ascribed to L. DELANOIS (Louis Delanois, maître 1761), Paris ca. 1760. Moulded beech wood, finely shaped and gilt. Blue silk cover with a fine floral pattern. Gilt, minor chips. 68x60x46x96 cm. Provenance: from a French castle.

Sold for CHF 84 000

PAIR OF VASES WITH HANDLES, Empire/Restoration, by DARTE FRERES (Darte Frères Paris 1801-1833), after drawings by C. PERCIER (Charles Percier, 1764 Paris 1838) and P.F.L. FONTAINE (Pierre François Léonard Fontaine, Pontoise 1762-1853 Paris), Paris ca. 1825/35. Fine and colourfully painted porcelain, probably from the Manufactory Nast. Large amphora-shaped vase with broad neck and shaped lip, the sides with handles designed as acanthus leaves and rams' heads. Painted with bouquets of flowers, verso large vase, bouquet of flowers, cornucopias, angels and leaves. Additionally finely decorated with rosettes, cartouches and leaves. H 60 cm. Provenance: from a Swiss private collection.

Empire/Restauration, von DARTE FRERES (Darte Frères Paris 1801-1833), nach zeichnerischen Vorlagen von C. PERCIER (Charles Percier, 1764 Paris 1838) und P.F.L. FONTAINE (Pierre François Léonard Fontaine, Pontoise 1762-1853 Paris), Paris um 1825/35.
Fein und bunt bemaltes Porzellan wohl aus der Manufaktur Nast. Grosse amphorenförmige Vase mit breitem Hals und profilierter Lippe, seitlich mit Henkeln in Form von Akanthusblättern und Widderköpfen, auf konischem Rundfuss mit Quaderplatte. Die Schauseiten bemalt mit Blumenbouquets, verso grosse Blumenvase, Blumenstrauss, Füllhörner, Engel und Blätter. Zusätzlich fein verziert mit Rosetten, Kartuschen und Blättern. H 60 cm.
PAIR OF VASES WITH HANDLES, Empire/Restoration, by DARTE FRERES (Darte Frères Paris 1801-1833), after drawings by C. PERCIER (Charles Percier, 1764 Paris 1838) and P.F.L. FONTAINE (Pierre François Léonard Fontaine, Pontoise 1762-1853 Paris), Paris ca. 1825/35. Fine and colourfully painted porcelain, probably from the Manufactory Nast. Large amphora-shaped vase with broad neck and shaped lip, the sides with handles designed as acanthus leaves and rams' heads. Painted with bouquets of flowers, verso large vase, bouquet of flowers, cornucopias, angels and leaves. Additionally finely decorated with rosettes, cartouches and leaves. H 60 cm. Provenance: from a Swiss private collection.
PAIR OF VASES WITH HANDLES, Empire/Restoration, by DARTE FRERES (Darte Frères Paris 1801-1833), after drawings by C. PERCIER (Charles Percier, 1764 Paris 1838) and P.F.L. FONTAINE (Pierre François Léonard Fontaine, Pontoise 1762-1853 Paris), Paris ca. 1825/35. Fine and colourfully painted porcelain, probably from the Manufactory Nast. Large amphora-shaped vase with broad neck and shaped lip, the sides with handles designed as acanthus leaves and rams' heads. Painted with bouquets of flowers, verso large vase, bouquet of flowers, cornucopias, angels and leaves. Additionally finely decorated with rosettes, cartouches and leaves. H 60 cm. Provenance: from a Swiss private collection.

Sold for CHF 84 000

IMPORTANT PENDULE "AUX CHINOIS PORTEURS", Louis XV, model by J.J. DE SAINT-GERMAIN (Jean-Joseph de Saint-Germain, maître 1748), the dial and movement stamped FESTEAU A PARIS (Simon Ier François Festeau, known as "Le jeune", maître 1750), the bronzes with "c couronné", Paris ca. 1745/50. Bronze, matte and polished gilt. Enamel dial with hours in Roman numerals and minutes in Arabic numerals. 2 fine, gilt and engraved hands. Fine brass movement with 1/2-hours striking on bell. Dial slightly chipped. Requires servicing. 50x20x60 cm. Provenance: - private collection, Switzerland. - Koller Auction, Zurich, 27 June 2003 (Lot No. 1124). - private collection, Munich.

Louis XV, das Modell von J.J. DE SAINT-GERMAIN (Jean-Joseph de Saint-Germain, Meister 1748), das Zifferblatt und Werk sign. FESTEAU A PARIS (Simon Ier François Festeau, gen. "Le jeune", Meister 1750), die Bronzen mit "c couronné" (eine Steuermarke, die zwischen 1745 und 1749 auf alle Kupfer enthaltenden Legierungen angebracht wurde), Paris um 1745/50.
Bronze matt- und glanzvergoldet. Zwei kniende Chinesenfiguren mit Hut tragen das blumen- und blätterbeschmückte Uhrgehäuse mit Aufsatz in Form eines Indianerjungen, auf einem Fels sitzend, seitlich 2 Schindeldächer, auf durchbrochenem, geschweiftem Kartuschensockel. Emailzifferblatt mit arabischen Minuten- und römischen Stundenzahlen. 2 feine, vergoldete und gravierte Zeiger. Feines Messingwerk mit 1/2-Stundenschlag auf Glocke. Zifferblatt leicht bestossen. Zu revidieren. 50x20x60 cm.
IMPORTANT PENDULE "AUX CHINOIS PORTEURS", Louis XV, model by J.J. DE SAINT-GERMAIN (Jean-Joseph de Saint-Germain, maître 1748), the dial and movement stamped FESTEAU A PARIS (Simon Ier François Festeau, known as "Le jeune", maître 1750), the bronzes with "c couronné", Paris ca. 1745/50. Bronze, matte and polished gilt. Enamel dial with hours in Roman numerals and minutes in Arabic numerals. 2 fine, gilt and engraved hands. Fine brass movement with 1/2-hours striking on bell. Dial slightly chipped. Requires servicing. 50x20x60 cm. Provenance: - private collection, Switzerland. - Koller Auction, Zurich, 27 June 2003 (Lot No. 1124). - private collection, Munich.
IMPORTANT PENDULE "AUX CHINOIS PORTEURS", Louis XV, model by J.J. DE SAINT-GERMAIN (Jean-Joseph de Saint-Germain, maître 1748), the dial and movement stamped FESTEAU A PARIS (Simon Ier François Festeau, known as "Le jeune", maître 1750), the bronzes with "c couronné", Paris ca. 1745/50. Bronze, matte and polished gilt. Enamel dial with hours in Roman numerals and minutes in Arabic numerals. 2 fine, gilt and engraved hands. Fine brass movement with 1/2-hours striking on bell. Dial slightly chipped. Requires servicing. 50x20x60 cm. Provenance: - private collection, Switzerland. - Koller Auction, Zurich, 27 June 2003 (Lot No. 1124). - private collection, Munich.

Sold for CHF 78 000

DESK "A ABATTANT", Louis XV, stamped RVLC (Roger Vandercruse, maître 1755), Paris ca. 1760/65. Tulipwood and purpleheart in veneer and exceptionally finely inlaid in "bois de bout"; flowers, leaves, cartouches and ornamental frieze. Slightly convex front with central drawer with leather-covered top over 1 secret drawer between a double-door. Fine, matte and polished gilt bronze mounts and sabots. Shaped "Brèche d'Alep" top. 84x39x(open 62)x120 cm. Provenance: from a French collection.

Louis XV, sign. RVLC (Roger Vandercruse, Meister 1755), Paris um 1760/65.
Rosen- und Veilchenholz gefriest sowie ausserordentlich fein eingelegt in "bois de bout"; Blumen, Blätter, Kartuschen und Zierfries. Geschweifter, rechteckiger Korpus mit vorstehenden und abgerundeten Eckstollen auf wellig ausgeschnittener Zarge mit kurzen, geschweiften Beinen. Leicht bombierte Front mit zentraler Schublade mit lederbezogenem Deckblatt über 1 Geheimschublade zwischen Doppeltüre mit Lamellenverschluss und Doppeltüre. Inneneinteilung mit 4 Schubladen auf 2 Reihen unter 3 grossen Fächern. Feine, matt- und glanzvergoldete Bronzebeschläge und -sabots. Profilierte "Brèche d'Alep"-Platte. 84x39x(offen 62)x120 cm.
DESK "A ABATTANT", Louis XV, stamped RVLC (Roger Vandercruse, maître 1755), Paris ca. 1760/65. Tulipwood and purpleheart in veneer and exceptionally finely inlaid in "bois de bout"; flowers, leaves, cartouches and ornamental frieze. Slightly convex front with central drawer with leather-covered top over 1 secret drawer between a double-door. Fine, matte and polished gilt bronze mounts and sabots. Shaped "Brèche d'Alep" top. 84x39x(open 62)x120 cm. Provenance: from a French collection.
DESK "A ABATTANT", Louis XV, stamped RVLC (Roger Vandercruse, maître 1755), Paris ca. 1760/65. Tulipwood and purpleheart in veneer and exceptionally finely inlaid in "bois de bout"; flowers, leaves, cartouches and ornamental frieze. Slightly convex front with central drawer with leather-covered top over 1 secret drawer between a double-door. Fine, matte and polished gilt bronze mounts and sabots. Shaped "Brèche d'Alep" top. 84x39x(open 62)x120 cm. Provenance: from a French collection.

Sold for CHF 74 400

BRONZE FIGURE OF THE ANATOMY OF A HORSE, Empire, the cast after F. RIGHETTI (Francesco Righetti, 1738-1819), Rome, 19th century. Patinated bronze and red marble. H 44 cm. L 40 cm. Provenance: from a French collection.

Empire, der Guss wohl nach F. RIGHETTI (Francesco Righetti, 1738-1819), Rom, 19. Jh.
Bronze patiniert und roter Marmor. Stehender Hengst auf rechteckigem, profiliertem Sockel. H 44 cm. L 40 cm.
BRONZE FIGURE OF THE ANATOMY OF A HORSE, Empire, the cast after F. RIGHETTI (Francesco Righetti, 1738-1819), Rome, 19th century. Patinated bronze and red marble. H 44 cm. L 40 cm. Provenance: from a French collection.
BRONZE FIGURE OF THE ANATOMY OF A HORSE, Empire, the cast after F. RIGHETTI (Francesco Righetti, 1738-1819), Rome, 19th century. Patinated bronze and red marble. H 44 cm. L 40 cm. Provenance: from a French collection.

Sold for CHF 72 000

PAIR OF ORNAMENTAL PORCELAIN VASES WITH BRONZE MOUNTS, Louis XV, the porcelain from China, probably Qianlong period (1736-1795), the bronze Paris, 18th/19th century. Finely painted porcelain and gilt bronze. H 32 cm. Provenance: - former Collection Hammel, Paris. - from a French collection. Expertise by the Cabinet Dillée, Guillaume Dillée / Simon Pierre Etienne, Paris 2014.

Louis XV, das Porzellan China, 19. Jh., die Bronze Paris, 18./19. Jh.
Fein bemaltes Porzellan und vergoldete Bronze. Bauchige Vase mit hohem Hals und 2 eingerollten Henkeln, auf geschweiftem Fuss. Die Wandung fein bemalt mit verschiedenen Szenen in weissen Medaillons und Schmetterlingen auf rotem Grund. H 32 cm.
PAIR OF ORNAMENTAL PORCELAIN VASES WITH BRONZE MOUNTS, Louis XV, the porcelain from China, probably Qianlong period (1736-1795), the bronze Paris, 18th/19th century. Finely painted porcelain and gilt bronze. H 32 cm. Provenance: - former Collection Hammel, Paris. - from a French collection. Expertise by the Cabinet Dillée, Guillaume Dillée / Simon Pierre Etienne, Paris 2014.
PAIR OF ORNAMENTAL PORCELAIN VASES WITH BRONZE MOUNTS, Louis XV, the porcelain from China, probably Qianlong period (1736-1795), the bronze Paris, 18th/19th century. Finely painted porcelain and gilt bronze. H 32 cm. Provenance: - former Collection Hammel, Paris. - from a French collection. Expertise by the Cabinet Dillée, Guillaume Dillée / Simon Pierre Etienne, Paris 2014.

Sold for CHF 62 400

PROCESSIONAL CROSS, Limoges, early 13th century. Wooden core mounted with chased and gilt copper, set with glass stones and champlevé enamel plaques in turquoise, dark blue, red and green. The Corpus Christi in engraved, gilt and enamelled copper. One side of the cross with the crucified Christ and half-figures of the Evangelists at the cross ends. Verso with round, enamel plaque of Christ in Majesty. The cross ends with the symbols of the Evangelists. Losses and chips. Alterations. H 41 cm. Provenance: Swiss private collection. Lit.: The Metropolitan Museum of Art, Enamels of Limoges 1100-1350, New York 1996; page 315 ff.

Limoges, frühes 13. Jh.
Holzkern beschlagen mit vergoldetem, mit Sternen und stilisierten Blüten getriebenem Kupfer, besetzt mit Glassteinen und Grubenschmelzemail-Plaketten in Türkis, Dunkelblau, Rot und Grün. Corpus Christi in Kupfer graviert, vergoldet und emailiert. Die eine Seite des Kreuzes mit dem Gekreuzigten, die Kreuzenden mit Halbfiguren der 4 Evangelisten besetzt. Die Rückseite in der Mitte mit einer runden emaillierten Plakette, Christus in Majestas. Die Kreuzenden mit den Symbolen der Evangelisten. Fehlstellen und Ausbrüche. Ergänzungen. H 41 cm.
PROCESSIONAL CROSS, Limoges, early 13th century. Wooden core mounted with chased and gilt copper, set with glass stones and champlevé enamel plaques in turquoise, dark blue, red and green. The Corpus Christi in engraved, gilt and enamelled copper. One side of the cross with the crucified Christ and half-figures of the Evangelists at the cross ends. Verso with round, enamel plaque of Christ in Majesty. The cross ends with the symbols of the Evangelists. Losses and chips. Alterations. H 41 cm. Provenance: Swiss private collection. Lit.: The Metropolitan Museum of Art, Enamels of Limoges 1100-1350, New York 1996; page 315 ff.
PROCESSIONAL CROSS, Limoges, early 13th century. Wooden core mounted with chased and gilt copper, set with glass stones and champlevé enamel plaques in turquoise, dark blue, red and green. The Corpus Christi in engraved, gilt and enamelled copper. One side of the cross with the crucified Christ and half-figures of the Evangelists at the cross ends. Verso with round, enamel plaque of Christ in Majesty. The cross ends with the symbols of the Evangelists. Losses and chips. Alterations. H 41 cm. Provenance: Swiss private collection. Lit.: The Metropolitan Museum of Art, Enamels of Limoges 1100-1350, New York 1996; page 315 ff.

Sold for CHF 60 000

MANTLE CLOCK WITH SKELETON MOVEMENT, MOON PHASE AND DATE, Louis XVI, the cartouche signed RIDEL A PARIS (probably Laurent Ridel, active from ca. 1770 onwards), the enamel painting attributed to J. COTEAU (Joseph Coteau, Geneva 1740-1801 Paris) , Paris ca. 1780. Gilt bronze, white marble and exceptionally fine enamel. Fine enamel dial ring with Arabic hours and minutes, date and days of the week in French, as well as planet symbols. 5 fine hands. On top: window with moon phase. Fine brass movement striking the 1/2-hours on bell. Large sun pendulum. Fine mounts and applications. Requires servicing. 27x15.5x50 cm.

Louis XVI, die Kartusche sign. RIDEL A PARIS (wohl Laurent Ridel, tätig ab ca. 1770), die Emailmalerei J. COTEAU (Joseph Coteau, Genf 1740-1801 Paris) zuzuschreiben, Paris um 1780.
Vergoldete Bronze, weisser Marmor und ausserordentlich feines Email. Rundes Werkgehäuse auf bogenförmigen Beinen mit rechteckigem Sockel auf Kreiselfüssen. Feiner Emailzifferring mit arabischen Stunden- und Minutenzahlen, Monatstagen sowie französischen Wochentagen und Planetensymbolen. 5 feine Zeiger. Darüber feines Mondphasenfenster mit arabischen Monatstagen. Darunter Emailring mit französischen Monaten. Feines Messingwerk mit Scherengang und 1/2-Stundenschlag auf Glocke. Grosser Sonnenpendel. Feine Beschläge und Applikationen. Zu revidieren. 27x15,5x50 cm.
MANTLE CLOCK WITH SKELETON MOVEMENT, MOON PHASE AND DATE, Louis XVI, the cartouche signed RIDEL A PARIS (probably Laurent Ridel, active from ca. 1770 onwards), the enamel painting attributed to J. COTEAU (Joseph Coteau, Geneva 1740-1801 Paris) , Paris ca. 1780. Gilt bronze, white marble and exceptionally fine enamel. Fine enamel dial ring with Arabic hours and minutes, date and days of the week in French, as well as planet symbols. 5 fine hands. On top: window with moon phase. Fine brass movement striking the 1/2-hours on bell. Large sun pendulum. Fine mounts and applications. Requires servicing. 27x15.5x50 cm.
MANTLE CLOCK WITH SKELETON MOVEMENT, MOON PHASE AND DATE, Louis XVI, the cartouche signed RIDEL A PARIS (probably Laurent Ridel, active from ca. 1770 onwards), the enamel painting attributed to J. COTEAU (Joseph Coteau, Geneva 1740-1801 Paris) , Paris ca. 1780. Gilt bronze, white marble and exceptionally fine enamel. Fine enamel dial ring with Arabic hours and minutes, date and days of the week in French, as well as planet symbols. 5 fine hands. On top: window with moon phase. Fine brass movement striking the 1/2-hours on bell. Large sun pendulum. Fine mounts and applications. Requires servicing. 27x15.5x50 cm.

Sold for CHF 60 000

RELIEF OF THE HOLY FAMILY, Renaissance, attributed to D. SILOE (Diego de Siloé, Burgos 1495-1563 Granada), Spain, 16th century. Wood, carved in relief and painted. Mary nursing the Christ Child, flanked by Joseph, John as a Child and Anne. In a shaped wood frame. Original, virtually untouched paint. 65x90 cm. Provenance: private collection, Lugano. Expertise: Prof. Ferdinando Bologna, Rome, 27 July 1976.

Renaissance, D. SILOE (Diego de Siloé, Burgos 1495-1563 Granada) zuzuschreiben, Spanien, 16. Jh.
Holz geschnitzt im Relief sowie gefasst. Maria das Kind stillend flankiert von Joseph, dem Kind Johannes und Anna. In profiliertem Holzrahmen. Originale, nahezu unberührte Fassung. 65x90 cm.
RELIEF OF THE HOLY FAMILY, Renaissance, attributed to D. SILOE (Diego de Siloé, Burgos 1495-1563 Granada), Spain, 16th century. Wood, carved in relief and painted. Mary nursing the Christ Child, flanked by Joseph, John as a Child and Anne. In a shaped wood frame. Original, virtually untouched paint. 65x90 cm. Provenance: private collection, Lugano. Expertise: Prof. Ferdinando Bologna, Rome, 27 July 1976.
RELIEF OF THE HOLY FAMILY, Renaissance, attributed to D. SILOE (Diego de Siloé, Burgos 1495-1563 Granada), Spain, 16th century. Wood, carved in relief and painted. Mary nursing the Christ Child, flanked by Joseph, John as a Child and Anne. In a shaped wood frame. Original, virtually untouched paint. 65x90 cm. Provenance: private collection, Lugano. Expertise: Prof. Ferdinando Bologna, Rome, 27 July 1976.

Sold for CHF 54 000

SET OF 4 LARGE FAUTEUILS "A LA REINE", Louis XV, stamped TILLIARD (Jean-Baptiste I or Jean-Baptiste II Tilliard, maître 1738 and 1752), Paris ca. 1750. Moulded beech wood, exceptionally finely carved with flowers, leaves, stylised shells, volutes, and ornamental frieze. Beige fabric covers with colourful pansies. 72s58x42x95cm. Provenance: - from a private collection, Switzerland. - Koller Auction, Zurich, 3 December 1996 (Lot No. 1071). - from a private collection, Munich.

Louis XV, sign. TILLIARD (Jean-Baptiste I oder Jean-Baptiste II Tilliard, Meister 1738 bzw. 1752), Paris um 1750.
Buche mouluriert und ausserordentlich fein beschnitzt mit Blumen, Blättern, stilisierten Muscheln, Voluten und Zierfries. Geschweifter, trapezförmiger Sitz auf wellig ausgeschnittener Zarge mit geschweiften Beinen. Flache, bogenförmig abschliessende Rückenlehne mit ausladenden, gepolsterten Armlehnen auf zurückgesetzten -stützen. Beiger Stoffbezug mit bunten Stiefmütterchen. 72s58x42x95cm.
SET OF 4 LARGE FAUTEUILS "A LA REINE", Louis XV, stamped TILLIARD (Jean-Baptiste I or Jean-Baptiste II Tilliard, maître 1738 and 1752), Paris ca. 1750. Moulded beech wood, exceptionally finely carved with flowers, leaves, stylised shells, volutes, and ornamental frieze. Beige fabric covers with colourful pansies. 72s58x42x95cm. Provenance: - from a private collection, Switzerland. - Koller Auction, Zurich, 3 December 1996 (Lot No. 1071). - from a private collection, Munich.
SET OF 4 LARGE FAUTEUILS "A LA REINE", Louis XV, stamped TILLIARD (Jean-Baptiste I or Jean-Baptiste II Tilliard, maître 1738 and 1752), Paris ca. 1750. Moulded beech wood, exceptionally finely carved with flowers, leaves, stylised shells, volutes, and ornamental frieze. Beige fabric covers with colourful pansies. 72s58x42x95cm. Provenance: - from a private collection, Switzerland. - Koller Auction, Zurich, 3 December 1996 (Lot No. 1071). - from a private collection, Munich.

Sold for CHF 40 800

THE NURSING MADONNA, Gothic, North-Eastern France, middle of the 14th century. Limestone, sculptured all around, verso partially flattened and with remains of paint. Verso inscribed 17 in white ink and bearing the red inventory number 32523... on the base area. Minor chips. H 75 cm. Provenance: private collection, Lugano. Expertise: - technical expertise by Prof. John Larson, 24 March 1997, confirming that the work stems from the early 14th century. - examination of the pigment residue by Dr. Paolo Cornale, Consulting Scientific Group Palladio, Milan, 8 February 2001. The pigments examined are dated at ca. 1350.

gotisch, Nordostfrankreich, Mitte 14. Jh.
Kalkstein vollrund gehauen, verso teils geflacht sowie mit Resten einer Fassung. Die in ein schönes Gewand mit Umhang gekleidete Muttergottes steht im Kontrapost mit leicht nach rechts gewendetem Blick. Sie stillt das Kind, das sie liegend vor ihrem Körper in beiden Händen trägt. Verso bez. 17 in weisser Tinte sowie mit roter Inventarnummer 32523... im Sockelbereich. Kleinere Bestossungen. H 75 cm.
THE NURSING MADONNA, Gothic, North-Eastern France, middle of the 14th century. Limestone, sculptured all around, verso partially flattened and with remains of paint. Verso inscribed 17 in white ink and bearing the red inventory number 32523... on the base area. Minor chips. H 75 cm. Provenance: private collection, Lugano. Expertise: - technical expertise by Prof. John Larson, 24 March 1997, confirming that the work stems from the early 14th century. - examination of the pigment residue by Dr. Paolo Cornale, Consulting Scientific Group Palladio, Milan, 8 February 2001. The pigments examined are dated at ca. 1350.
THE NURSING MADONNA, Gothic, North-Eastern France, middle of the 14th century. Limestone, sculptured all around, verso partially flattened and with remains of paint. Verso inscribed 17 in white ink and bearing the red inventory number 32523... on the base area. Minor chips. H 75 cm. Provenance: private collection, Lugano. Expertise: - technical expertise by Prof. John Larson, 24 March 1997, confirming that the work stems from the early 14th century. - examination of the pigment residue by Dr. Paolo Cornale, Consulting Scientific Group Palladio, Milan, 8 February 2001. The pigments examined are dated at ca. 1350.

Sold for CHF 36 000

MARY WITH THE BLESSING CHILD, Renaissance, workshop of GREGORIO DI LORENZO (Gregorio di Lorenzo, 1436 Florence 1495), Tuscany ca. 1460/70. Painted stucco. Mounted in a later, marbled, architectural wooden frame. 52x39 cm. Total height 115 cm. Provenance: private collection, Lugano. Expertise: Prof. Alfredo Bellandi, August 2004.

Renaissance, Werkstatt des GREGORIO DI LORENZO (Gregorio di Lorenzo, 1436 Florenz 1495), Toskana um 1460/70.
Stukko gefasst. Maria mit jugendlichem Antlitz sitzend, das lächelnde Kind mit Segensgruss auf ihrem Schoss. Im Hintergrund Lorbeergirlande. Montiert in späteren, marmorierten, architektonischen Holzrahmen. 52x39 cm. Gesamthöhe 115 cm.
MARY WITH THE BLESSING CHILD, Renaissance, workshop of GREGORIO DI LORENZO (Gregorio di Lorenzo, 1436 Florence 1495), Tuscany ca. 1460/70. Painted stucco. Mounted in a later, marbled, architectural wooden frame. 52x39 cm. Total height 115 cm. Provenance: private collection, Lugano. Expertise: Prof. Alfredo Bellandi, August 2004.
MARY WITH THE BLESSING CHILD, Renaissance, workshop of GREGORIO DI LORENZO (Gregorio di Lorenzo, 1436 Florence 1495), Tuscany ca. 1460/70. Painted stucco. Mounted in a later, marbled, architectural wooden frame. 52x39 cm. Total height 115 cm. Provenance: private collection, Lugano. Expertise: Prof. Alfredo Bellandi, August 2004.

Sold for CHF 24 000

FAMILY ALTAR/TRIPTYCHON, Renaissance, workshop of the EMBRIACHI (important workshop in Florence and Venice in the 15th century), Venice ca. 1410/20. Bone cut in relief and ebony with geometric fillets in partially coloured bone. The triptychon has a pointed gable, the central panel shows Mary Enthroned with the Child Jesus, flanked by St. Catherine and John the Baptist. Above Christ holding a Book and Giving Blessings. The two wings depicting the monastic saints, St. Dominic and St. Francis of Assisi. Minor losses, repair in the region of Mary's right elbow. Small alterations/repairs on the frame. Open: 33x27 cm. Closed: 33x13 cm. Provenance: private collection, Lugano.

Renaissance, Werkstatt der EMBRIACHI (bedeutende Werkstatt in Florenz und Venedig im 15. Jh.), Venedig um 1410/20.
Knochen geschnitten im Relief sowie Ebenholz mit geometrischen Filets in teils gefärbtem Knochen. Das Triptychon mit Spitzgiebel, das zentrale Feld zeigt die thronende Maria mit Kind, flankiert von der Heiligen Katharina bzw. Johannes dem Täufer. Darüber im Tympanon Darstellung Christi mit Buch und Segensgestus. Die beiden Flügel mit der Darstellung der Ordensheiligen Dominikus bzw. Franz von Assisi. Geringe Fehlstellen, Reparatur im Bereich des rechten Ellbogens Marias. Kleinere Ergänzungen/Reparaturen am Gehäuse. Offen: 33x27 cm. Geschlossen: 33x13 cm.
FAMILY ALTAR/TRIPTYCHON, Renaissance, workshop of the EMBRIACHI (important workshop in Florence and Venice in the 15th century), Venice ca. 1410/20. Bone cut in relief and ebony with geometric fillets in partially coloured bone. The triptychon has a pointed gable, the central panel shows Mary Enthroned with the Child Jesus, flanked by St. Catherine and John the Baptist. Above Christ holding a Book and Giving Blessings. The two wings depicting the monastic saints, St. Dominic and St. Francis of Assisi. Minor losses, repair in the region of Mary's right elbow. Small alterations/repairs on the frame. Open: 33x27 cm. Closed: 33x13 cm. Provenance: private collection, Lugano.
FAMILY ALTAR/TRIPTYCHON, Renaissance, workshop of the EMBRIACHI (important workshop in Florence and Venice in the 15th century), Venice ca. 1410/20. Bone cut in relief and ebony with geometric fillets in partially coloured bone. The triptychon has a pointed gable, the central panel shows Mary Enthroned with the Child Jesus, flanked by St. Catherine and John the Baptist. Above Christ holding a Book and Giving Blessings. The two wings depicting the monastic saints, St. Dominic and St. Francis of Assisi. Minor losses, repair in the region of Mary's right elbow. Small alterations/repairs on the frame. Open: 33x27 cm. Closed: 33x13 cm. Provenance: private collection, Lugano.

Sold for CHF 21 600

THE EVANGELISTS PETER AND PAUL, Renaissance, Lombard master ca. 1480. Marble, sculptured all around. The two saints are holding a book and their attribute. Tip of the sword is missing. H 60 cm. Provenance: private collection, Lugano.

Renaissance, lombardischer Meister um 1480.
Marmor vollrund gearbeitet. Die beiden Heiligen stehend mit Buch und Attribut in den Händen. Schwertspitze fehlt. H 60 cm.
THE EVANGELISTS PETER AND PAUL, Renaissance, Lombard master ca. 1480. Marble, sculptured all around. The two saints are holding a book and their attribute. Tip of the sword is missing. H 60 cm. Provenance: private collection, Lugano.
THE EVANGELISTS PETER AND PAUL, Renaissance, Lombard master ca. 1480. Marble, sculptured all around. The two saints are holding a book and their attribute. Tip of the sword is missing. H 60 cm. Provenance: private collection, Lugano.

Sold for CHF 18 000