Tableaux - Mobilier & Objets d'Art

Sale: Friday 24 September 2021
Salle 1-7 - Hôtel Drouot - 9, rue Drouot 75009 Paris
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Lot n° 50 - BRANDEBURG PRINCE HANDKERCHIEF BASKET Germany, 16th centuryPatinated bronzeH. 29 cm (with handle raised: 46 cm), D. 21 cmMonogram W//M Inscriptions in the medallions:Albrecht V[on] Brandenburg Erbish[of] o[der] Kurf[urst] V[on] Mainz 1490-1545 // Joachim I Kurfurst V[on] Brandenburg 1484-1535 // Joachim II Kurfurst V[on]Brandenburg 1505-1571 // Albrecht Markgraf V[on] Brandenburg 1490-1568This patinated bronze bucket, with a high handle attached to two mascaron-decorated handles, is richly decorated. A band of five medallions interspersed with foliate candelabras terminating in delicate lyre birds in the spandrels surmounts the gadrooned base of the vase. Four of the great princes of Brandenburg during the Renaissance are depicted, identified by an inscription. Albert of Brandenburg (1490-1545), appointed Archbishop of Brandenburg in 1513 and of Mainz in 1514, where he became Prince-Elector, is shown wearing the cardinal's biretta, in accordance with his title in 1518. Contrary to the usual practice, he is shown here in profile, as in Dürer's engraving where he is 34 years old (fig. 1).His brother Joachim I (1484-1535), who was elected Elector of Brandenburg in 1499, is depicted in a three-quarter view, wearing a hat made of a heavy, jewelled fabric and a cloak with a richly embroidered breastplate, following the model of the portrait painted by Lucas Cranach the Elder (Fig. 2). The inversion of the subject suggests that our artist used an engraving. The next medallion shows Joachim II (1505-1571), the son of the previous king, who succeeded him in 1535. His costume, more sober than his father's, reflects the evolution of fashions but also of ideas since he supports the Reformation while remaining faithful to Catholicism. In his official portraits, as shown here, he wears a beret with an antler and long moustaches. The series ends with the portrait of Albert (1490- 1568), Magrave of Brandenburg. He is depicted in profile like his uncle, but in the opposite direction and bareheaded. Between the cardinal and himself, a fifth medallion, decorated with a mascaron, bears the signature of the goldsmith, the monogrammist W.M. Our bucket allows us to date his activity after 1571.

BRANDEBURG PRINCE HANDKERCHIEF BASKET Germany, 16th centuryPatinated bronzeH. 29 cm (with handle raised: 46 cm), D. 21 cmMonogram W//M Inscriptions in the medallions:Albrecht V[on]…
Estimate — 35 000 - 40 000 €
Kohn Marc-Arthur - Paris,
Friday 24 September - 14:45

Lot n° 52 - CABINET WITH ENGRAVED EFFIGIES of the Princes of Orange-Nassau, the Prince-Electors of Bavaria and the Holy Roman EmperorGermany, mid 17th centuryOak frame, stamped leather, iron and brass; old engravingsH. 35 cm, W. 58 cm, D. 45 cmThis cabinet with many secrets, rectangular in shape, with an oak frame covered with stamped leather and studded with stylized flowers and arabesques hammered with small nails, is held by wrought iron side handles. It opens in front of two pivoting leaves, revealing an interior lined with gilded leather with small iron, arranged with a central sliding locker surrounded by two symmetrical groups of three small drawers equipped with small rings of pulling.The flap opens onto a magnificent and rich decoration of stamped and gilded leather with nine compartments imitating book bindings. The cover plate, made of stamped leather with gilding, is decorated with two medallion portraits representing Wilhelmus II A Nassau / Princeps Aurausionem Stum etc. and Albertina A Nassau, Uxer Guiljelmi Frederici, Baroni Frisae, etc. William II of Nassau (The Hague, 1626-1650), Prince of Orange, was stadhouder of the United Provinces from 1647. The engraving by Hugo Allard the Elder (1634-1687), dated about 1650-1680, shows him posthumously with his coat of arms (fi g. 1). The other medallion depicts his sister Albertine-Agnès de Nassau (1634-1696), wife of William Frederick and baroness of Friesland. It reproduces the portrait of her by the famous Utrecht painter Gerrit van Honthorst (1592-1656). They are surrounded by a colourful engraving of a sovereign in hussar's uniform, most probably Joseph II of Austria (1741-1790), who ruled the Holy Roman Empire from 1764. The costume is reminiscent of the official portrait of the Emperor engraved by Johann Gott fried Haid (1710-1776) in the third quarter of the 18th century (fig. 2). The flap reveals a cover with black and white engravings.Two equestrian portraits accompany a banqueting scene in which a couple have retired behind a tree and are about to munch on the fruit on the branches held out to them by a monkey and a little Amur. The coat of arms easily identifies Maximilian-Henri of Bavaria (München, 1621-Bonn, 1688), who was elected Prince-Archbishop-Elector of Cologne in 1650, and Ferdinand Marie of Witt elsbach (München, 1636-Schleissheim, 1679), who became Prince-Elector of Bavaria in 1651. The two portraits presented here were engraved by Johann Jakob Schollenberg (1647-1699) in the second half of the 17th century (fi g. 3-4). This collection of portraits of the princes and princesses of Nassau and Bavaria, gathered around the figure of Emperor Joseph II, must have been assembled later and added to the original decoration of our cabinet. The owner of the cabinet in the mid-18th century was most likely a prominent member of the Habsburg court in Vienna. The allegory of taste engraved by Jeremiasz Falck (1610?-1677), which accompanies the equestrian portraits, humorously develops a nuptial theme (fi g. 5). Our cabinet may have originally served as a chest of drawers for a princess of Nassau. William II and Albertine had a brother and six sisters.

CABINET WITH ENGRAVED EFFIGIES of the Princes of Orange Nassau, the Prince Electors of Bavaria and the Holy Roman EmperorGermany, mid 17th centuryOak frame, stamped leather, iron a…
Estimate — 25 000 - 30 000 €
Kohn Marc-Arthur - Paris,
Friday 24 September - 14:45

Lot n° 56 - PAIR OF MEDAL BUSTES REPRESENTING ASIA AND AMERICA Louis XIV period, circa 1700Patinated bronzes with their chased and gilded bronze frameH. 56 cm, D. 52 cmThe bronze busts, sculpted in high relief as a counterpart to each other, represent two female figures whose attributes correspond to the iconography of two of the Four Worlds. Asia, wearing a turban with an aigrette, is dressed in a pleated tunic with a fruit clasp on the right shoulder. Her neck is very open, highlighting a pearl necklace centered on a cameo, her head is slightly tilted, her face somewhat melancholic. Her attire is reminiscent of the headdresses and jewellery of the Maharajas. America, with her curly hair topped by a feathered headdress, carries a quiver of arrows on her back. She is adorned with a pearl necklace. Her tunic is slightly indented, revealing a shoulder. Her hairstyle and the braids that adorn her garment recall the art of featherwork and the gold ornaments of the peoples of the New World. This theme of the Parts of the World, revived in the gardens of Versailles on the occasion of the Great Commission of 1674, enjoyed a new lease of life in the decorative arts under the reign of Louis XIV. Charles Cressent (Amiens, 1685-Paris, 1740) created four bronze busts representing the Four Parts of the World, identified by their attributes and an inscription on the pedestal (fig. 1). The series, which belonged to Gustave de Rothschild, shows Asia in the guise of a woman wearing a plume and America with a crown of feathers and a quiver. Here, each oval is adorned with its original gilded bronze frame in a laurel torus of exceptional chasing quality. The modelling of the figures with an elegant rigour testifies, like the frames, to a creation dating from the 1700s.

PAIR OF MEDAL BUSTES REPRESENTING ASIA AND AMERICA Louis XIV period, circa 1700Patinated bronzes with their chased and gilded bronze frameH. 56 cm, D. 52 cmThe bronze busts, sculpt…
Estimate — 40 000 - 60 000 €
Kohn Marc-Arthur - Paris,
Friday 24 September - 14:45

Lot n° 58 - FLANDERS OR ENGLAND STRONGBOX, late 17th-early 18th CENTURY Rosewood veneer, violet wood, rosewood; gilt brass and bronze18th century rosewood veneer legsH. 75 cm, W. 56 cm, D. 35 cmProvenance:Segoura sale, Christie's, New York, 19 October 2006, lot 216.James Grafstein Collection, Christie's, New York, November 21, 2008, lot 44This chest is beautifully decorated with brass plates, hinges and spandrels, finely underlined with pinkish pastilles. The lid opens to reveal a compartment and the front has a flap revealing six small drawers. Two side handles allow the transport. It rests on a Regency period rosewood veneer base with later bronze ornamentation. Such safes were luxury objects intended for rich owners to keep their valuables safe and to be able to transport them if necessary. They were sold by cabinetmakers who built and veneered the frame, often using tropical hardwood veneers. They then made sets of mounts, handles and locks purchased from brass foundries.The elaborate veneer and striking brass mounts show that the decorative appearance of these objects was important as was the security provided to the owner (Fig. 1). Like the present safe, they were often displayed on specially made wooden stands shortly after, if not at the time of purchase.

FLANDERS OR ENGLAND STRONGBOX, late 17th early 18th CENTURY Rosewood veneer, violet wood, rosewood; gilt brass and bronze18th century rosewood veneer legsH. 75 cm, W. 56 cm, D. 35 …
Estimate — 12 000 - 15 000 €
Kohn Marc-Arthur - Paris,
Friday 24 September - 14:45

Lot n° 62 - CONSOLE " AU MASQUE DE FEMME " (WITH A WOMAN'S MASK)FRANCE MÉRIDIONALE, REGENCY PERIOD Gilt wood; Spanish violet brocatel marbleH. 88 cm, W. 133 cm, D. 66 cmThis superb carved and gilded wood console adopts a curved shape and a very original decoration, typical of the Regency period carpenters. The belt is composed of a trellis background, flanked by two reserves decorated with a flowering branch on an "amati" background. In the center appears a woman's bust underlined by a garland, in a cartouche bordered by volutes and acanthus. The base is also of the most beautiful decorative effect. It consists of two double curved legs joined by a spacer carved with a shell, topped by an antique vase and a scrolled background with trellis motifs, following and standing out from the shape of the front legs.The beautiful carving, the abundance of decoration and the great respect for symmetry make this console a true masterpiece of its kind. It is likely that the artist was inspired by the work of the great ornamentalist Jean-Bernard-Honoré Turreau, known as Toro (Toulon, 1672-1731). This artist from Toulon published in 1716 a collection of models engraved with the greatest finesse by Cochin and Rochefort and published by Dubuisson. He was a champion of the Regency style as shown by one of his creations preserved in the BnF (fig. 1). On this console, we find in the center the portrait of an elegant woman surrounded by volutes, similar to our console. Toro worked mainly in Provence, in the cities of Marseille and Aix-en-Provence in particular. His great originality of inspiration is a subtle mixture of Parisian models and Italian baroque. Very few works are known today that are attributed to him with certainty. The Musée des Arts Décoratifs in Paris has a Regency period console with a similar structure and decoration (fig.2). Also carved with a central medallion with a woman's bust, it also has a trellis motif on the belt. Let us also mention the superb table kept in the Mauritshuis in The Hague which presents a similar decorative repertoire, a woman's mask, a belt decorated with trellis and especially the top of the legs whose motif is very close to the console we are presenting.

CONSOLE " AU MASQUE DE FEMME " (WITH A WOMAN'S MASK)FRANCE MÉRIDIONALE, REGENCY PERIOD Gilt wood; Spanish violet brocatel marbleH. 88 cm, W. 133 cm, D. 66 cmThis superb carved and …
Estimate — 15 000 - 20 000 €
Kohn Marc-Arthur - Paris,
Friday 24 September - 14:45

Lot n° 67 - A Chinese lacquered high-backed piece of furnitureParis, Regency period, circa 1720Chinese lacquer, European varnish; gilt bronzesH. 138.5 cm, W. 155.5 cm, D. 49 cmThis piece of furniture is one of the first examples of the use of Far Eastern lacquer panels in French furniture in the early 1720s. The architecture is still very much influenced by the rigors of the "Grand Siècle" with its rectilinear forms, its plain base with a wide apron and its ornamentation of chased and gilded bronzes borrowed from the repertoire of the late reign. The double reserve side panels are painted in European varnish and underlined by gilded bronze strips. The originality of this piece of furniture lies in the covering of the front panels with two Chinese lacquer panels decorated with flowering branches and birds. The motifs, done in gold on a black background, are richly enriched by the presence of a bright red applied with a certain opulence. The decoration is completed on the sides by panels in "Martin varnish". The luxuriance of these oriental lacquers is matched by the gilded bronzes, which, with their finely chiseled falls, hooves, apron and keyhole escutcheons, complete the brilliance of this piece of furniture.It should be noted that the famous Ramsay family kept in its collections a piece of furniture with a structure and decoration of Chinese lacquer panels very similar to our piece of furniture (fig. 1). The proportions and workmanship of our piece of furniture are reminiscent of the work of a great master of the first half of the 18th century, Pierre II Migeon (1701-1758), a member of one of the most important cabinet-making dynasties of the 18th century. He made a number of pieces of furniture of this type, mostly in veneer, with rounded corners and more or less flared sides, with or without bronzes. Nevertheless, lacquered furniture is quite rare for this cabinetmaker, as they are generally chests of drawers, mainly in Chinese lacquer (fig. 2). A fine example of the fascination of China for Europeans, this piece of furniture, with its pleasant proportions, is a rare example of the production of the 1720s, combining Far Eastern lacquers and European lines in a harmonious synthesis that already heralded the production of the reign of Louis XV. Several pieces of furniture from prestigious collections can be compared to the one we are presenting. Let us mention, for example, the cabinet at the height of support of the collection of Mr. André Saint which comprises lacquer panels with very similar decorations of birds (fig. 3). In the same register, a very beautiful Chinese lacquer panel, dated from the beginning of the 18th century and kept in the Steinau Castle, presents an iconography similar to those flanking the leaves of our piece of furniture (fig. 4).

A Chinese lacquered high backed piece of furnitureParis, Regency period, circa 1720Chinese lacquer, European varnish; gilt bronzesH. 138.5 cm, W. 155.5 cm, D. 49 cmThis piece of fu…
Estimate — 70 000 - 100 000 €
Kohn Marc-Arthur - Paris,
Friday 24 September - 14:45

Lot n° 70 - CONSOLE Louis XV period Paris, circa 1730Carved natural oak; Sea Green marbleH. 85.5 cm, W. 164 cm, D. 66.5 cmThis console is a brilliant testimony to the ability of the best woodcarvers of the first half of the 18th century to transcribe in their material the models provided in the form of drawings or engravings by the great ornamentalists of the Rocaille style. In the course of this transcribing, however, they retained a great deal of freedom of interpretation. The most extraordinary is revealed by the dexterity of the openwork sculpture of the base, combining an extremely rich rocaille repertoire. Leafy scrolls, large palmettes, interlacing, nets of pearls or fleurons, rosettes, openwork and flowery trellises are all intertwined in a remarkably balanced design. If asymmetry triumphs in the detail, it is symmetry that prevails in the overall composition. Alfred de Champeaux published in his Portefeuille des Arts décoratifs devoted to carved wooden furniture (Paris, fifth year, 1892-1893, pl.651), the drawing of a console model attributed to Juste-Aurèle Meissonnier (goldsmith and draughtsman, 195 - 1750), which corresponds perfectly, with the exception of a few interpretative variants by the sculptor, to our piece of furniture (fig.1). Moreover, Nicolas Pinneau, (woodcarver and designer, 1684 - 1754), published at Mariette in Paris many engraved collections of his drawings, among which a "suite de consoles rocailles, 1720", presenting a very similar model (fig.2).

CONSOLE Louis XV period Paris, circa 1730Carved natural oak; Sea Green marbleH. 85.5 cm, W. 164 cm, D. 66.5 cmThis console is a brilliant testimony to the ability of the best woodc…
Estimate — 50 000 - 70 000 €
Kohn Marc-Arthur - Paris,
Friday 24 September - 14:45

Lot n° 71 - RARE PAIR OF SCONCES "AUX MAGOTSFRANCE, LOUIS XIV PERIOD, CIRCA 1750Gilt bronze, patinated and lacquered copperH. 40 cm, L. 26 cmProvenance:Former collection of the Countess Zoubov, GenevaAcquired in 1977 from the Grandes Epoques gallery in GenevaParis CollectionThis pair of two-light sconces in very finely chased and gilded bronze, with rocaille decoration of scrolls, foliage and flowers, testifies to the golden age of the Chinese taste in the French decorative arts in the 18th century. They are distinguished from other models of this period by the presence of two "magots" in black, red and gold lacquered copper to resemble as closely as possible the precious lacquers of China and Japan. Diderot and d'Alembert's encyclopedia gives the following definition of the term "magot": "figures in clay, plaster, copper, porcelain, collected, counterfeit, bizarre that we look as representing Chinese or Indians. Our apartments are decorated with them. They are precious trinkets of which the nation has been stubborn... this reign is that of the magots. It is interesting to quote some inventories after death and auction records of the 18th century mentioning the presence of such objects in the refined interiors of the time. For example, in the catalogue raisonné of Louis-Jean Gaignat's sale in Paris in 1769, a pair of comparable three-branched sconces is described: "189 a pair of three-branched mantelpiece arms, of a fine chased and gilded model. In each arm is a figure of a magot varnished in lacquer and richly dressed in the Japanese style by Martin". Gaignat also owned a large clock by Pierre Le Roy: "it is decorated with several copper figures representing copper figures by Martin imitating lacquer: they are richly dressed and worked...". The description of these objects by the famous merchant Simon Philipe Poirier (circa 1720-1785) attributes these magots to the famous family of Parisian varnish makers, the Martins. Moreover, in the inventory of the Duchess of Maine, a great lover of antique lacquerware and whose interior was of the latest style, the expert uses the term "pagoda" to designate these Chinese figures, which he always attributes to Martin. "...in the room next to the said cabinet of China...n° 521 two girandoles with two branches of gilded copper carried on two pagodas of verny of Martin mounted in gilded bronze of ground gold taken 140 livres...". If the statements of the Martin goods are silent on these lacquered bronze figures, the mentions "of" and "by" Martin by the experts of these sales, most often mercer merchants, seem to prove that they produced them. Research carried out by the research laboratory of the Museums of France on this type of lacquered figure makes it possible to specify the technique used: several organic layers were applied to a copper base to form a barrier with the metal support and to allow the black lacquer layer to adhere.The decoration was then made by applying red and brown lacquers with gold mixed in. If we know a certain number of these fi gures of "magots" in lacquered copper, bringing their note of exoticism to western objects such as andirons, clocks, cartels, paperweights (Fig. 1 to 3). The light arms such as those we present remain rare. However, let us mention a pair of comparable sconces sold at Sotheby's in Paris on November 9, 2010, lot 177 (Fig. 4). This pair of sconces illustrates the incomparable perfection achieved by the French bronziers and lacquerers of this period, who never ceased to renew forms, techniques and decorations in order to produce a refined production that enchanted a rich European clientele fascinated by the Far East.

RARE PAIR OF SCONCES "AUX MAGOTSFRANCE, LOUIS XIV PERIOD, CIRCA 1750Gilt bronze, patinated and lacquered copperH. 40 cm, L. 26 cmProvenance:Former collection of the Countess Zoubov…
Estimate — 35 000 - 40 000 €
Kohn Marc-Arthur - Paris,
Friday 24 September - 14:45

Lot n° 92 - LIBRARY CABINET France, Louis XVI period incorporating Louis XIV period panels Oak frame; brass; pewter; ebony; mirror; gilt bronzeH. 242 cm, W. 138 cm, D. 53 cmLuxurious and extravagant, this type of furniture with neoclassical forms is characteristic of the interest of collectors in "Boulle" marquetry during the reign of Louis XVI. Spearheading this revival, cabinetmakers Adam Weisweiler (1744 - 1778) and Philippe-Claude Montigny (1743 - 1800) reused marquetry panels and gilt bronze fittings created by André-Charles Boulle (1642 - 1732) in their own frames to create new pieces of furniture that would feature both neoclassical orthogonal forms and sumptuous decoration. To do this, Weisweiler and Montigny cut out and reused elements from large cupboards or cabinets on new frames, as shown here, respecting the tripartite structure invented by Boulle. Etienne Levasseur (1721 - 1798) executed Boulle furniture sometimes identical to the originals, others are more marked by the neoclassical spirit and do not cause confusion. This is the case of the piece of furniture we are presenting. These pieces of furniture were most often marketed during the years 1760 - 1780 by merchant-merchants like Claude-François Julliot (1727 - 1794), and collected by rich amateurs. From then on, furniture in "Boulle" marquetry was highly sought after by collectors wishing to furnish and decorate their study, library or art gallery. The marquetry of ebony, copper and pewter characterizes this two-piece piece of furniture from the late 18th or early 19th century. The slightly recessed upper part presents two glazed leaves in "Boulle" marquetry frames. The interior is fitted with shelves. The lower part opens to two full doors with radiating pewter, brass and gilded bronze frames on an ebony background. This decoration continues on the sides. It is supported by four turned "pine cone" feet.

LIBRARY CABINET France, Louis XVI period incorporating Louis XIV period panels Oak frame; brass; pewter; ebony; mirror; gilt bronzeH. 242 cm, W. 138 cm, D. 53 cmLuxurious and extra…
Estimate — 40 000 - 60 000 €
Kohn Marc-Arthur - Paris,
Friday 24 September - 14:45

Lot n° 96 - PAIR OF HEMICYCLE CONSOLES Italy, late 18th centuryCarved, gilded and painted wood; scagliola traysH. 89.5 cm, W. 143.5 cm, D. 65 cmVery richly carved in their original gilding, this pair of Italian neoclassical half-moon consoles are distinguished by their exceptional scagliola trays executed in imitation of antique red porphyry with a wide front border with a lapis background and polychrome motifs on a gold background. The gilded wood base displays a very rich carved decoration with moulded borders and a frieze of stylised palmettes each resting on two small scrolled volutes. Four tapered legs with twisted flutes, punctuated with rings and leafy corollas, support the whole, ending in claws. The two front legs are punctuated by an imposing eagle with outstretched wings. The two consoles rest on a pedestal with small circular feet, with curved fronts and doucine borders adorned with friezes of scalloped leaves. The terrace is painted with a faux marble. The use of the eagle with outstretched wings, allegory of Jupiter, whose thunderbolts adorn the belt of each console, symbols of power, was used in Italy during the neoclassical period, particularly in Rome and in the Marche.Similar eagles adorn, for example, a console beside which stands Cardinal Andrea Archett i, depicted in a painting dating from 1787 and now in a private collection (fi g.1). They are also found on three consoles reproduced in Enrico Colle's Il Mobile Neoclassico in Italia, one monopod made in a Roman workshop (fi g.2), the other two, in carved and painted wood, made in a workshop in the Marches and preserved in the Pinacoteca di Piceno (fi g.3 and 4).

PAIR OF HEMICYCLE CONSOLES Italy, late 18th centuryCarved, gilded and painted wood; scagliola traysH. 89.5 cm, W. 143.5 cm, D. 65 cmVery richly carved in their original gilding, th…
Estimate — 120 000 - 150 000 €
Kohn Marc-Arthur - Paris,
Friday 24 September - 14:45

Lot n° 97 - SMALL FLIP TABLE TRANSFORMABLE INTO A GARDEN France, last quarter of the 18th - early 19th century (?)Walnut and resin frame; mahogany and mahogany veneer; gilt bronzes and zincH. 72 cm, W. 41 cm, D. 35 cmOur small mahogany piece of furniture of an obvious practical sense, presents a geometrical decoration on all its faces of gilded bronzes drawing on the four panels a hexagonal motive underlined by rows of water leaves and oak leaves in clasps. The uprights are fluted and filleted with gilt bronze candles. They are extended by tapered legs joined by a spacer shelf surrounded by a bronze gallery decorated with openwork piastres, this motif is repeated all around the top. The absence of a stamp makes it impossible to identify the author of this jardinière. The quality of construction, the purity of the neoclassical forms and the richness of the bronzes indicate however a creation of a talented cabinetmaker of the reign of Louis XVI; one could thus bring this work closer to the work of Pierre Garnier (1726/27-1806), cabinetmaker who excelled in the realization of mahogany furniture in the great respect of the style of the end of the XVIIIth century. For example, the architectural rigour, reinforced by large areas of mahogany and the extensive use of bronzes, can be seen in a piece of vanity furniture in the Wallace Collection in London (fig. 1).

SMALL FLIP TABLE TRANSFORMABLE INTO A GARDEN France, last quarter of the 18th early 19th century (?)Walnut and resin frame; mahogany and mahogany veneer; gilt bronzes and zincH. 72…
Estimate — 12 000 - 15 000 €
Kohn Marc-Arthur - Paris,
Friday 24 September - 14:45

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