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Rare and Prestigious Treasures from the Paris Excellence Sale

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Featuring Decorative Arts including Furniture, sculpture, works of art, ceramics and silverware from the 17th to 19th centuries, the Excellence sale gathers lots selected not only for their aesthetic qualities but also for their rarities and prestigious provenances. Click through to discover highlights from the auction.

Past Auction
Excellence
19 November 2019 | 5:00 PM CET | Paris

Rare and Prestigious Treasures from the Paris Excellence Sale

  • A Rare Gilt-Bronze Mounted Ebony And Ivory Casket, The Plaques Ceylon Third Quarter 16th Century, The Mounts Italian Late 16th Century
    Estimate €50,000–80,000
    Francesco Maria II della Rovere, descendant of the Montefeltro family and of the family of Pope Sistus IV and Julius II, as well as related to the most important Italian dynasties (Farnese, Gonzaga), was the head of the minuscule state of Urbino. Interested in furniture and decorative objects, there is no doubt that this small cabinet with his heraldic emblem and initials on the escutcheon was custom made for him, combining precious Indian ivory plaques with European style furniture.
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  • A German Parcel-Gilt Nef, By Hans Georg Krauer Der Aeltere, Lucerne, circa 1660
    Estimate €120,000–150,000
    This nef model was developed throughout the 17th century in Nuremberg, but also in other cities such as Augsburg and Lucerne. These coupes demonstrate the diversity of shapes for these types of vessel , particularly appreciated as a drinking game. During family celebrations or other events it was possible to serve refreshments from this type of nef.
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  • A Rare Silver-Gilt Corporation Cup Shaped As A Leaping Deer By Hans Caspar Gyger, Zürich, circa 1640
    Estimate €300,000–400,000
    Societies during the 16th and 17th centuries gave considerable importance to ceremonies. The animal-like goblets developed within this context were particularly popular in Germany and in neighbouring countries including Switzerland. They served as a guild goblet or welcoming coupe for the wealthy members of these clubs. They were used during celebrations, and often adapted the shape of game, especially deer, for stag hunts were still the reserve of nobility.
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  • A Pair of French Restauration Varnished-Bronze Mounted Tortoiseshell, Tinted Horn, Brass and Tin Marquetry Cabinets À Hauteur D’appui, Attributed to Pierre-Etienne Levasseur, circa 1830
    Estimate €100,000–150,000
    First apprentice at the Boulle workshop in the 1740s, Etienne Levasseur learned the techniques of tortoiseshell and brass marquetry. At his death in 1798, the workshop was taken over by his son Pierre-Etienne, then by his grandson Pierre-François-Henri said “Levasseur Jeune”, where they would reproduce the models and décors of the great master Etienne Levasseur. The sheathed legs surmounted by gilt bronze hooves, the foliage patterns of the inlaid tin, brass and tortoiseshell decoration, as well as the acanthus frieze enhanced by gilded bronze beads.
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  • A Multi-Coloured Gold and Burgau Mother of Pearl Snuff Box, Probably Berlin, circa 1765
    Estimate €100,000–150,000
    This highly unusual and beautiful snuff box is closely related to two further Berlin snuff boxes of similar date. The first, also rectangular, is decorated with coloured gold birds and flowering plants on a very similar trellis ground set over poudre d’écaille within floral scalloped cagework mounts. The second example is even grander in concept and belongs to the group of snuff boxes identified by the late Dr Winfried Baer, having been made for Frederick II of Prussia. It is not known which of Frederick’s goldsmiths created the box but it is probable that all three boxes originated from the same workshop.
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  • A Louis XV Gilt-Bronze Mounted Parisian Varnish Commode by Jacques Dubois, circa 1740-1750
    Estimate €60,000–100,000
    And: A Louis XV Gilt-Bronze Mounted Parisian Varnish Commode, circa 1740-1750, By Jacques Dubois. Estimate €100,000–150,000

    These two coordinated Parisian enameled commodes have the exceptional feature of comprising a greatly homogenous ensemble without declaring it as a pair. The widths differ, one is relatively small while the other is larger. It was made by Jacques Dubois, who was a renowned cabinetmaker whose most beautiful productions are certainly those integrating Chinese and Japanese lacquers, as well as Parisian varnish.
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  • A Brussels Tapestry “Asie – La Caravane À La Mecque”, circa 1760, Van Der Borght Workshop, the Design Attributed to Maximilien De Hase or Nicolas De Haen
    Estimate €150,000–200,000
    In a landscape of the Ottoman Empire, a caravan is shown leaving for Mecca. In the centre is a camel carrying a palanquin or Mahmal. This richly decorated palanquin was once used to transport the noble ladies to Mecca. It was also a political symbol sent since the seventh century by the sovereigns with their caravans of pilgrims to Mecca to show their status and prestige. The subject, which was chosen for this tapestry to symbolise Asia, demonstrates the importance of this theme in the second half of the 18th century. For the European courts at that time, the Muslim religion was the great religion of Asia. This tapestry was part of the “Continents” series, constisting of five works, with some figures taken from old master paintings.
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  • A Pair of Late Louis XV Carved Giltwood Armchairs, circa 1768-1770, by Nicolas Heurtaut
    Estimate €40,000–60,000
    Undisputed master of the art of siege in the Louis XV period, Nicolas Heurtaut was also one of the precursors of neoclassicism in his field. A rare model, this pair of armchairs brilliantly illustrates the way in which he translated the Greek taste in carpentry at the end of the 1760s. Only one other identical pair is known - also stamped by hand. It is also one of the very last examples of his production since he died in 1771.
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  • Gilles-Lambert Godecharle (1750-1835) Belgian, circa 1786, Pomona
    Estimate €100,000–150,000
    Originally from Brussels, Godecharle trained in the workshop of Laurent Delvaux, the crucible of a new generation of Neoclassical Walloon sculptors. The fine and closely gathered folds of the antique drapery masterfully coaxed from the stone by the sculptor and the softened Neoclassicism of Pomona – oscillating between a form of classical hieraticism and the graceful femininity of the nymph's figure is exceptional. In addition to her dazzling beauty, the nymph Pomona – a deity withdrawn from the world – is known for her skill in mastering nature and her ability to cultivate fruit trees.
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  • A Louis XVI Gilt-Bronze Mounted Mahogany Commode by Jeanhenri Riesener, circa 1785
    Estimate €80,000–120,000
    This commode model was developed by Jean-Henri Riesener around 1785. Several mahogany copies are now listed, with similar characteristics: a slight central projection outlined by a gilt bronze frame with recesses, surmounting an apron terminating with a pine cone, rounded corners atop fluted tapered legs. In this series, our copy is distinguished by the originality and finesse of its bronze ornaments, gilded with mercury. What also makes this a rare example is the keyholes with arabesques that appear on some royal commissions passed to the cabinetmaker, such as the commodes in the Queen’s Nobles’ Rooms at the Palace of Versailles (OA 5229) or the Queen’s cylinder secretary at the Tuileries (Louvre, OA 5229).
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  • A Pair Of Louis XVI Giltbronze Mounted Greek Green Porphyry Vases
    Estimate €20,000–30,000
    These green porphyry vases, called “Antiquity serpentine”, prove the attraction for hard stones at the end of the 18th century with some renown collectors, including Marie Antoinette and Louis XVI and the famous Duke of Aumont ( 1709-1782). They bought several vases at the Aumont auction, including two pairs of green porphyry urns today in the collections of the Louvre (OA 5719 and OA5178).
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  • A Rare Pair of Gilt-Bronze Mounted Blue Silvered Vases Candelabra, Louis XVI, circa 1785, Attributed to Pierre Philippe Thomire
    Estimate €100,000–150,000
    These candelabra are unusual in that their bronze vases that were first silvered, then applied with blue patina, so as to highlight the delicately chased gilt-bronze motifs. This partial recourse to blue for decorative bronzes seems to have been popular among leading late 18th century bronziers in their permanent quest for variety. The vases supporting our candelabra feature bacchanalian scenes replete with prancing Bacchantes, vines and frolicking fauns. The handles are in the form of ram’s heads, while roses and lilies are entwined in the branches. Given the originality and masterful execution of our models, the name of Pierre-Philippe Thomire inevitably springs to mind.
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  • A Large Silver-Gilt Pot À Oille, Liner and Cover, Maison Odiot, Paris, 1983-1992
    Estimate €70,000–100,000
    This soup-tureen has been made after the one created in 1817 by Jean-Baptiste-Claude Odiot after a design of Adrien-Louis-Marie Cavelier. It was part of a service delivered to Count Demidoff and now partly in the Louvre Museum with other pieces of this service (OA 12162-12165).
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  • A Silver, Silver-Gilt and Pearl Oyster Cup, by Emile Froment-Meurice, circa 1880
    Estimate €100,000–150,000
    This coupe is in the tradition of mounted objects, and is made from coconut, ostrich egg and hard stones – which were extremely prized in previous centuries. During the short engagement period between King Alfonso XII and his cousin Mercedes of Orleans-Bourbon, daughter of the Count and Countess de Montpensier, Emile Froment-Meurice sent to the Spanish court via the Count of Montpensier a fabulous catalogue of items, testimony of this firm’s creativity. It included a drawing depicting an enamel, vermeil and pearl oyster coupe which greatly inspired the vessel presented here. The main difference is the footed stem from the drawing is composed of a centaur and a woman supporting the coupe, probably Deianeira’s kidnapping by the centaur Nessus.
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