Tableaux et dessins anciens - Objets d’art et très bel ameublement - Objets de menuiserie - Pâtes tendres de Mennecy et Vincennes - Faïences françaises - Porcelaines de Chine et du Japon

Sale: Friday 24 September 2021
Salle 1-7 - Hôtel Drouot - 9, rue Drouot 75009 Paris
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48 Results

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Lot n° 1 - JAPANESE PORCELAIN VASE WITH KAKIEMON DESIGN AND COVER Kyushu Island, Arita factory, circa 1660-1670Porcelain glazed with orange-red, pale yellow, pale green and bluePerfect state of preservationH. 19 cmProvenanceGalerie PerlèsPrivate collection, ParisThis vase has kept its lid decorated with foliage. On the body, birds populate a luxuriant vegetation, attracted by the perfume of the flowers and the sugar of the fruits. A band of shippo-hanabishi decorates the neck and emphasizes the roundness of its forms.These vases with Kakiemon decoration, eponymous of the potter who initiated it, appeared on the European market in the third quarter of the 17th century. Several examples of this type are now in the collections of the British Museum in London and the Ashmolean Museum in Oxford.Stéphane Castelluccio explains in his book on the taste for Far Eastern porcelain inParis in the 17th and 18th centuries, that the Chinese civil war led to a halt in production at the Jingdezhen kilns in 1644, after the conquest of the province. Production resumed from 1660 but was interrupted from 1675 until the 1680s when the city burned down. In order to enable the export of Asian porcelain to Europe, the Dutch East India Company sourced its porcelain exclusively from the Japanese market in the second half of the 17th century. Most of the production was concentrated in Arita on the island of Kyushu and in some neighbouring towns. Thus, the first porcelain with polychrome enamel on the Kakiemon cover appeared on the European market. Europeans were used to blue and white Chinese porcelain and celadon.Porcelain painted in the Kakiemon style, named after the potter who created these decorations, is characterized by a translucent enamel decoration on the cover which covers the greyish-white paste of the porcelain. The palette is limited to blue, pale green, pale yellow and orange-red with occasional gold highlights. Unlike the Imari period, which followed from 1700 onwards, the decorations are sober and asymmetrical and leave a great deal of space.Consequently, this vase is a piece of historical interest, as it corresponds to the first Japanese porcelain introduced to the European market in the third quarter of the 17th century.Further information given by the collector is accessible by QR Code in the PDF.

JAPANESE PORCELAIN VASE WITH KAKIEMON DESIGN AND COVER Kyushu Island, Arita factory, circa 1660 1670Porcelain glazed with orange red, pale yellow, pale green and bluePerfect state …
Estimate — 12 000 - 15 000 €
Kohn Marc-Arthur - Paris,
Friday 24 September - 14:00

Lot n° 2 - WUCAI-DECORATED ROLL VASE Jingdezhen porcelain (China), Transitional period, Qing dynasty, early Kangxi period (1662-1722), circa 1670-1675Paris mount, circa 1690-1720Porcelain, iron-red, copper-green, light turquoise, and manganese glazes on a white ground; chased, mercury-gilded, amatized, and burnished bronzeVery good state of preservationH. 42 cmProvenanceAntoine Lebel, Brussels Private collection, ParisThis Chinese porcelain high-shoulder scroll vase, in five colours, presents a Wucai decoration typical of the Transition period, between the end of the Ming (1368- 1644) and the beginning of the Qing (1644-1912). It is decorated with two large friezes of green leaves and red lotus flowers, painted in reserve on a background of stylised scales in shades of red. A frieze of grecians surmounted by green and red flames marks the base of the neck, while vermicules decorate the base of the body.This type of decoration, typical of Chinese porcelain of the Transitional period, is found on pots and dishes as well as on vases. The same ornaments of flames and grecians can be found at the base of the neck of a scroll vase in the Grandidier collection, now in the Guimet Museum, the body of which also features mantling motifs painted in reserve on a scale background (fig. 1). There is also a small round dish from the same or early Kangxi period (1662-1722). Its floral decoration is comparable to ours (fig. 2). A rich gilt-bronze mounting also embellishes the ends of our vase, in the manner of a piece of goldsmith's art. The lip is thus gadrooned and the foot set with a frieze of interlacing bordered, in the upper part, by a row of lambrequins and underlined by a vermiculated band. While lambrequins also decorate the ewerKangxi of the Getty (fig. 3), the interlacing with fleurons and bouterolles evoke the most luxurious ormolu decorations of Louis XIV furniture and clocks (fig. 4). Further information from the collector can be accessed by QR Code in the PDF.

WUCAI DECORATED ROLL VASE Jingdezhen porcelain (China), Transitional period, Qing dynasty, early Kangxi period (1662 1722), circa 1670 1675Paris mount, circa 1690 1720Porcelain, ir…
Estimate — 15 000 - 20 000 €
Kohn Marc-Arthur - Paris,
Friday 24 September - 14:00

Lot n° 7 - TABLE-CONSOLE À CARTOUCHE AJOURÉ Paris, Louis XIV period, circa 1685-1690Carved oak (redoré), marble from Saint-Berthevin (Mayenne)Repaired and gilded, old marble restored to size H. 84.5 cm, W. 144 cm, D. 71 cmThree firemarks: S.S ProvenancePalais Galliera, 1968Galerie Pellat de Villedon, 2011Private collection, Paris, since 2011This console table, topped with a marble top from Saint-Berthevin (Mayenne) moulded in the shape of a "bec de corbin", with grooves and a lower groove, has a table leg typical of the second half of the reign of Louis XIV, as can be seen in the drawings by Pierre Lepautre, draughtsman of the Bâtiments du Roi in 1699 (fi g. 1). The belt, decorated with a reticulated background trimmed with rosettes, is stamped in its center with an openwork cartouche decorated with a palmette set in acanthus scrolls and underlined with laurel garlands. It rests on four sheathed legs, splayed into a volute at the top and joined by an X-shaped brace, in accordance with the models described in the journal book of the Garde-Meuble de la Couronne.Thirteen tables of this type were made and delivered to the king between 30 December 1687 and 22 October 1688. The greatest artists, sculptors, gilders and carpenters of the time worked on them. One of them, decorated with lilies, is now kept in Versailles (fi g. 2). Another one was still in the Château de Bercy in 1860 (fi g. 3). Further information from the collector can be accessed by QR code in the PDF.

TABLE CONSOLE À CARTOUCHE AJOURÉ Paris, Louis XIV period, circa 1685 1690Carved oak (redoré), marble from Saint Berthevin (Mayenne)Repaired and gilded, old marble restored to size …
Estimate — 100 000 - 150 000 €
Kohn Marc-Arthur - Paris,
Friday 24 September - 14:00

Lot n° 16 - ROLLER HOLDER with intertwined dolphin decorationManufacture d'Orléans, last third of the 17th - early 18th century Blown-moulded glassBreakage reattached to a petal of the bowl and to the tail of a dolphinH. 18 cm, W. 13 cmProvenancePrivate collection, ParisThis glass tableware was defined in the18th century as a "crystal", i.e. "a glass with stems or the like, used to mount a fruit, or to put snow and moss [...]" (Joseph Gilliers, Le Cannameliste français, 1768, p. 68) These pieces, made of very clear and sharp glass, adopt various shapes among which the dolphin seems to have enjoyed a particular favour (fig. 1). Several examples are in fact preserved in the Louvre collections. The animal supports the fruit bowl with the tip of its tail.Our model differs from the usual production by the original decoration of its stem with two interlaced dolphins. Made of colourless blown and moulded glass, worked with tongs, it illustrates the high quality of the production of the Manufacture of Orleans, founded byBernard Perrot (1640-1709) in 1668. This Master glassmaker, originally from Liguria, was noticed inLiège and Paris for his innovations and obtained from the king the privilege to produce decorated pieces in blown glass.Additional information given by the collector is accessible by QR Code in the PDF.

ROLLER HOLDER with intertwined dolphin decorationManufacture d'Orléans, last third of the 17th early 18th century Blown moulded glassBreakage reattached to a petal of the bowl and …
Estimate — 10 000 - 12 000 €
Kohn Marc-Arthur - Paris,
Friday 24 September - 14:00

Lot n° 21 - JAPANESE PORCELAIN PLAT WITH IMARI DESIGN Kyushu Island, Arita factory Edo period, first quarter of the 18th century Glazed porcelain, painted in blue, red and goldPerfect state of preservationD. 55 cmProvenanceGalerie Finck et fils, Brussels Private collection, ParisThis large Japanese porcelain platter has an Imari design consisting of a jardinière and two flowering vases with two birds. This model, typical of the 1700s, can be found on a dish in the Victoria and Albert Museum (fig. 1) or on a pair from the former collection of the Elector of Saxony, King of Poland, known as AugusteLe Fort (1670-1730) (fig. 2). The stool on which the jardinière rests creates an effect of depth, enhanced here by the luxuriance of the vegetation painted in very subtle shades of blue and red, illuminated by the gold. The decoration on the wing of our dish is particularly covering.The two phoenixes populate a rocky and cloudy landscape, loaded with heavy flowering branches.The collection of Asian porcelains of the Elector Frederick-Augustus I of Saxony, known as Le Fort and King of Poland under the name of Augustus II (1670-1733), was constituted at the beginning of the 18th century and was the basis of inspiration for the production of the Meissen porcelain factory imitating the porcelains of China and Japan. In less than 15 years, he accumulated around 25,000 pieces from the FarEast in Dresden. Among these, Japanese porcelain in the Imari style had a special place, particularly in the central hallway on the ground and first floors of the Dutch Palace, completed in 1717 at the gates of Dresden. The Japanese Palace, which the prince had planned to build to display his porcelain collections, remained unfinished after his death.Unlike in modern times, these porcelain pieces were not intended to be displayed in isolation and out of context. For this reason, they were presented in Asian-inspired settings in purpose-built buildings, which created a real emulation among the various European sovereign courts. The fashion for this was set by a French architect, DanielMarot (Paris 1661 - The Hague 1752), who went into exile in 1685 in the Netherlands after the revocation of the Edict of Nantes.After the death of his son Augustus III and the Seven Years' War, the porcelain was relegated to the cellars of the Japanese Palace. There, collectors could come and acquire pieces. It was not until the 19th century that the idea of a universal museum of porcelain was born.The proceeds from the sale of Asian porcelain were used to acquire pieces from other famous manufactures, notably Sèvres. In 1875 the porcelain collection was moved from the Japanese Palace to the Johanneum.Further information from the collector can be found in the PDF using a QR code.

JAPANESE PORCELAIN PLAT WITH IMARI DESIGN Kyushu Island, Arita factory Edo period, first quarter of the 18th century Glazed porcelain, painted in blue, red and goldPerfect state of…
Estimate — 8 000 - 10 000 €
Kohn Marc-Arthur - Paris,
Friday 24 September - 14:00

Lot n° 22 - IMARI PORCELAIN POULE and its Louis XV period mount Japanese porcelain, Edo period, early 18th century Paris, Louis XV period, circa 1740-1750Porcelain with blue, red and gold decoration, gilded bronzeH. 28,5 cm, L. 18,5 cmThis Imari hen reminds us that the infatuation of Europeans with Japanese porcelain in the17th and 18th centuries was not limited to vases and dishes. Augustin Blondel de Gagny owned "two cocqs on contoured feet with panels, framed in gilt bronze" (Blondel sale, 1776, lot 627) which the whole of Paris praised during his lifetime, when they were still in his hotel on the Place de Vendôme. Hébert reports that this great officer of the King had "ancient porcelains of the most perfect kind & almost all of the kind which one calls first kind, whose mounts seem to dispute of price with the pieces which they accompany" (Hébert, Dictionnaire historique et pittoresque de Paris, 1766, I, p. 36). Although roosters are numerous in the catalogues of the best Parisian sales and are well represented in the Chinese collection of the Royal Palace of Drottningholm, hens are more rare. Our hen, resting on its tree stump, has a similar piece in the Fitwilliam Museum (fig. 1). Ours is enriched with a gilt bronze rocaille frame whose curves perfectly follow the contours of the porcelain.Further information from the collector is available by QR Code in the PDF.

IMARI PORCELAIN POULE and its Louis XV period mount Japanese porcelain, Edo period, early 18th century Paris, Louis XV period, circa 1740 1750Porcelain with blue, red and gold deco…
Estimate — 30 000 - 40 000 €
Kohn Marc-Arthur - Paris,
Friday 24 September - 14:00
Friday 24 September - 14:00

Lot n° 31 - SET OF FOUR XVIIth CENTURY GAMES ProvenancePrivate collection, Paris, 2010-2011PIERRE LEBRUN (received master cartier in 1749)COMPLETE SET OF 52 PLAYING CARDS with the "portrait of Paris", presented in a Louis XVI period pearl sandblasted box Paris, 1766 or 1771Hand-painted printed cards, polychrome glass pearl sandblasted boxSigned on all the portrait cards: P. Lebrun with his bluteau, a bird and the mention G.D.Paris for Généralité de ParisThe Parisian cartiers were forced to have their sheets printed in the offices held by the farmers in order to pay their tax, re-established in 1745. A new type of portrait was regularly produced. Ours, which does not correspond to any of those recorded, would be from 1766 or 1771, years for which the moulding sheets have disappeared.This set, complete, is presented in a late 18th century pearl sandblasted box.The polychrome glass pearls, threaded on silk thread, are glued on a green lacquered wooden core on which they draw a flowery pattern with a bird in the centre. This weaving technique imitates that of embroidery. MARIAVAL LE JEUNE (active in Paris and Rouen)QUADRILLE GAME in its box with embossed decorationParis, 18th century Painted and embossed wood, trimmed with fabric, natural ivory and stained red, green, yellowMissing some cards and tokens193 x 150 mm (box)32 x 22 mm (each of the four cassetins)Signed "Mariaval le Jeune a Paris fecit"The quadrille game is contained in four boxes arranged in the four cassetins (or compartments) of this box painted in red, decorated on the top with a cartouche where a young woman, with a flower in her hand, is standing in a landscape The portrait of the royal couple appears in relief in each spandrel, amidst plant motifs also in relief, embossed with metallic leaf.The four engraved ivory cases, natural or stained, are decorated with characters from the Commedia dell'Arte.Each one originally contained 20 cards, 10 tokens and 5 contracts. The tokens all have an engraved motto, a drawing is accompanied by a humorous or even naughty word. Place your bets: good to all winds, one is enough for me... QUADRILLE GAME decorated with characters and landscapesXVIIIth century Natural ivory and stained red, green, yellowIncomplete gameThis second quadrille game has lost its case. The four ivory cases are decorated in the same way as the first. They are enriched with a picturesque decoration inside the lids, four genre scenes in a landscape. DAUPHINS TRESSETTE GAME in its red morocco caseGerman or Austrian work, last quarter of the 18th century Engraved mother-of-pearl game elements, engraved brass markers, gilt and silvered; red morocco and gilt case, paper core covered with chamois goat or sheepskinH. 4 cm, W. 15.7 cm, D. 12.5 cmone missing tokenProvenanceGalerie Pascal IZARN Private collection, Paris, since 2011This red morocco case gilded with small irons opens on a set of braids carefully arranged in nine compartments covered with chamois leather and underlined with a silver braid. Two mother-of-pearl fish-shaped cards are isolated in the central compartment, between those for the two gilt and silver-plated brass markers, decorated with a dolphin and foliage.Each of the markers has two times six mother-of-pearl dolphin tabs. Twenty-three mother-of-pearl tokens, engraved with geometrical patterns, are distributed in the six side squares, three on each side.The tressette is a game of tricks. It is played by four players with 40 cards (a deck of 52 cards from which 8s, 9s and 10s have been removed). Each of the four players has 10 cards.Further information from the collector can be found in the PDF by QR code.

SET OF FOUR XVIIth CENTURY GAMES ProvenancePrivate collection, Paris, 2010 2011PIERRE LEBRUN (received master cartier in 1749)COMPLETE SET OF 52 PLAYING CARDS with the "portrait of…
Estimate — 25 000 - 28 000 €
Kohn Marc-Arthur - Paris,
Friday 24 September - 14:00

Lot n° 33 - VASE PARSEVAL À BOUQUET DE FLEURS Manufacture de Vincennes, before 1753Enamelled and gilded soft-paste porcelainA flower replaced by a soft-paste one from the manufacture deS èvresH. 27.5 cmMark with the royal figure: LL interlaced, accompanied by a dotProvenanceFormer collection of Count Renaud DoriaPrivate collection, Paris, 2012This Parseval vase, whose shape evokes that of the Medici vase, is named after Philibert de Parseval, a shareholder of the Manufacture de Vincennes. The body is decorated with scattered flowers, roses, bellflowers, a sprig of lily of the valley and a stem of small pansies emerging from an iris painted in natural colours. Vases of this type can be found in the greatest museums in the world (London, New York, Sevres). They were used for dessert and to present fruit.Decorated with a rose bush, our example was created in a more decorative spirit, especially for the table or to decorate the mantle of a fireplace.The rosebush bears twelve flowers in enamelled porcelain, a feat made possible from 1745 onwards thanks to the exclusive privilege of making pieces in Vincennes "in the style of Meissen. Each flower is different. The petals, enhanced by a rich palette of pinks and purples, bloom in several corollas around a yellow and green heart. Our vase is one of the oldest known of its kind. Later, the pot will also be covered with flowers in relief as on the famous Le Boitteux vase (fig. 1). Further information given by the collector can be accessed by QR Code in the PDF.

VASE PARSEVAL À BOUQUET DE FLEURS Manufacture de Vincennes, before 1753Enamelled and gilded soft paste porcelainA flower replaced by a soft paste one from the manufacture deS èvres…
Estimate — 12 000 - 15 000 €
Kohn Marc-Arthur - Paris,
Friday 24 September - 14:00

Lot n° 34 - COUPLE OF ORIENTALS, THE SULTAN AND THE SULTANE Manufacture de Mennecy-Villeroy, circa 1750-1760Glazed soft-paste porcelainThe sultana's plume reattached, that of the sultan redoneH. 29 cmMark DV in hollowProvenancePrivate collection, Paris, since 2010ExhibitionUnion centrale des Arts Décoratifs, 1929, La Porcelaine française de 1673 à 1914Considered a milestone in the history of French porcelain by the Union des Arts Décoratifs (fig. 1), this pair of statuettes depicts a couple dressed in oriental fashion. They are wearing egrets, long fur coats and slippers.The man's costume is more characteristic, with a turban, waistcoat and baggy trousers, in keeping with the image that people had of him in the West at the time.The visit of the ambassador Mehmet Effendi in 1721 and the success of the Persian Letters (1721), which contain lengthy exchanges on clothing fashions, will have stimulated the imagination of artists. The Mennecy-Villeroy factory thus produced a series of oriental couples with varying postures, as shown in the brightly coloured example in the MetropolitanMuseum in New York (fig. 2). Ours, made of white-glazed soft-paste porcelain, is more like Saxon-Meissen porcelain.The subject matter here is more elaborate. The figures standing on a rocky knoll, leaning on a flowery column, are set in a frame reminiscent of the chinoiseries of Jean-Baptiste Pillement or the tapestries of Aubusson.The next five lots are soft-paste porcelains from the first production of the Mennecy-Villeroy factory, between 1735 and 1750. The DV mark, painted or engraved, is a reminder of the patronage of the Duke of Villeroy (D.V.), who welcomed François Barbin (1689-1765), a soft-paste porcelain manufacturer in Paris, to his estate and allowed him to establish the manufactory there. The factory was transferred to the Mennecy side in 1748, following the redevelopment of the estate by Louis François Anne de Neufville (1685-1766), duke of Villeroy, peer of France, captain of the bodyguard of Louis XV and marshal of camp. FrançoisBarbin joined forces with his son-in-law Louis Evrard and his son Jean-Baptiste to meet the demands of his wealthy Parisian clients. Sold in 1765, the Manufacture de Mennecy-Villeroy ceased all activity in 1773.Additional information given by the collector is accessible by QR Code in the PDF.

COUPLE OF ORIENTALS, THE SULTAN AND THE SULTANE Manufacture de Mennecy Villeroy, circa 1750 1760Glazed soft paste porcelainThe sultana's plume reattached, that of the sultan redone…
Estimate — 20 000 - 30 000 €
Kohn Marc-Arthur - Paris,
Friday 24 September - 14:00

Lot n° 40 - FAN depicting the Meeting of Eliezer and Rebekah at the WellThird quarter of the 18th century Gouache-painted skin, partially gilded ivoryH. 15 cm, W. 29 cmProvenancePrivate collection, ParisThis ivory-mounted fan presents beautiful gouache-painted scenes on the theme of Love, Dalliance and Marriage. The main side of the leaf is decorated on the flesh side.It shows two groups of figures in a landscape depicting the story of the meeting of Eliezer and Rebekah at a well near the town of Nahor (Gen. 24:15-27). Eliezer and his camels approach a well where Rebekah gives him a drink. In return, he gives her ornaments represented here by a pearl necklace. And he marries her.The religious meaning of this biblical story, which in the Christian tradition prefigures the Annunciation, has given way to the motif of matrimonial union, as suggested by the oriental couple cut out of the gilded frame and the gallant scene painted on the reverse. The Faith, symbol of the Union by the representation of the joined hands, and the arrows of Cupid which decorate the medallions suspended on both sides of the Meeting at the well carry high the amorous symbolism of our fan and its decoration.A further information given by the collector is accessible by QR Code in the PDF.

FAN depicting the Meeting of Eliezer and Rebekah at the WellThird quarter of the 18th century Gouache painted skin, partially gilded ivoryH. 15 cm, W. 29 cmProvenancePrivate collec…
Estimate — 300 - 400 €
Kohn Marc-Arthur - Paris,
Friday 24 September - 14:00

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