Page 93 - Pascal Izarn catalogue 2024
P. 93
ATE LOUIS XV GILT BRONZE MANTEL CLOCK SIGNED
ST. GERMAIN, THE DIAL AND MOVEMENT SIGNED AGERON
À PARIS – CIRCA 1770
François Ageron, maître on 14 July 1741
Height: 46.5 cm. (18 ¼ in.) Width: 30.6 cm. (12 in.) Depth: 13.3 cm. (5 ¼ in.)
COMPARATIVE LITERATURE
An identical clock by Saint-Germain on a later marble base, the dial signed Lecœur à Paris, is in
the musée du Louvre, Paris (inv. OA 5434), and is illustrated in C. Dreyfus, Musée du Louvre, les
Objets d’Art du XVIIIe siècle, Paris, 1923, p. 7, no. 2.
A PAIR OF RÉGENCE GILT BRONZE TWO-LIGHT
APPLIQUES – CIRCA 1720
Height: 47 cm. (18 ½ in.) Width: 31 cm. (12 ¼ in.)
PROVENANCE
Sold PIASA, Paris, 28 January 2006, lot 111
A PAIR OF LOUIS XV GILT BRONZE-MOUNTED
CHINESE PORCELAIN CANDLESTICKS – CIRCA
1750
The porcelain Kangxi Period (1662-1722)
Height: 13.5 cm. (5 ½ in.) Width: 9.5 cm. (3 ¾ in.)
Identical turquoise porcelain twinned magots are mounted on a Louis XVI gilt
bronze inkstand previously sold by the gallery, subsequently in the collection
of Horace Wood Brock and now in the Museum of Fine Arts Houston (inv.
2021.362.A,.B).
79
ST. GERMAIN, THE DIAL AND MOVEMENT SIGNED AGERON
À PARIS – CIRCA 1770
François Ageron, maître on 14 July 1741
Height: 46.5 cm. (18 ¼ in.) Width: 30.6 cm. (12 in.) Depth: 13.3 cm. (5 ¼ in.)
COMPARATIVE LITERATURE
An identical clock by Saint-Germain on a later marble base, the dial signed Lecœur à Paris, is in
the musée du Louvre, Paris (inv. OA 5434), and is illustrated in C. Dreyfus, Musée du Louvre, les
Objets d’Art du XVIIIe siècle, Paris, 1923, p. 7, no. 2.
A PAIR OF RÉGENCE GILT BRONZE TWO-LIGHT
APPLIQUES – CIRCA 1720
Height: 47 cm. (18 ½ in.) Width: 31 cm. (12 ¼ in.)
PROVENANCE
Sold PIASA, Paris, 28 January 2006, lot 111
A PAIR OF LOUIS XV GILT BRONZE-MOUNTED
CHINESE PORCELAIN CANDLESTICKS – CIRCA
1750
The porcelain Kangxi Period (1662-1722)
Height: 13.5 cm. (5 ½ in.) Width: 9.5 cm. (3 ¾ in.)
Identical turquoise porcelain twinned magots are mounted on a Louis XVI gilt
bronze inkstand previously sold by the gallery, subsequently in the collection
of Horace Wood Brock and now in the Museum of Fine Arts Houston (inv.
2021.362.A,.B).
79
