Ref.9386
Four busts of Kings of France, former Beistegui collection

These four Neo-Renaissance style plaster busts represent Kings of France. They are copies of originals from the Renaissance and the 17th century that are in the Louvre. The first bust, copy of a bronze original, represents Louis XIII. For a long time, this sculpture was attributed to Jean Warin in the museum inventories but today specialists believe it is the work of Francesco Bordoni because it was found in the collection of his son Pierre Bordoni at his death. The three other busts are copies of works in alabaster and marble from the studio of the famous sculptor Germain Pilon (1535-1590). They are portraits of Henri II, Charles IX and Henri III. The four kings are wearing coronation clothes, each wearing the chain of the order of Saint Michael around their neck.

Ref.10940
BAYEUX MANUFACTURE - Four vases with polychrome and gold decoration with Chinese

These Bayeux porcelain vases feature rich decorations treated in polychrome and gold with Chinese characters, flowers and birds in medallions. The golden handles are made of bamboo branches.

Ref.12424
Alexandre Descatoire (1874-1949) - "Pierrot and Colombine" marble sculpture

"Pierrot and Colombine" marble sculpture signed Alexandre Descatoire. Alexandre Descatoire is a French sculptor born in Douai on August 22, 1874 and died in Marquette-lez-Lille on March 17, 1949. Professor at the School of Fine Arts and member of the Academy of Fine Arts (elected in 1939), he notably realized "Youth", allegory of times and ages, one of the gilded statues ordered for the Universal Exhibition of 1937, installed on the edges of the Parvis des Libertés et des Droits de l'Homme, in front of the Eiffel Tower. Knight of the Legion of Honor (1925), a large part of his work is dedicated to the soldiers of the First World War.

Ref.11536
Maison SORMANI, Luxurious writing set in mahogany, ebony and ivory marquetry

This luxurious writing set was made by the great Maison Sormani around 1875, as indicated by the calendar and the signature « Veuve P. Sormani & Fils, 10 r.Charlot PARIS ». Indeed, this signature is used between 1866, the year Paul Sormani died, and 1886, the year Paul-Charles Sormani took over the company on his own. The Maison Sormani is considered one of the greatest luxury manufacture during the Second Empire and until the beginnings of the 20th century. One of the reasons to their success is that the Impress, Eugénie, used to decorate her palaces with the creations of the house. The lattest was founded by Paul Sormani (1817-1866), who was born in Italy, but settled his shop in Paris as soon as 1847. He initially concentrated himself on small, fancy pieces, exploiting the techniques of marquetry and leatherwork, before specialising himself in the reproduction of ancient furniture often due to the greatest cabinetmakers of the 18th century, which could be found in particuler in the royal furniture store. Paul Sormani entered all the World’s Fairs that punctuated the second half of the 19th century, wining twice a silver medal in 1855 and 1867, and once a bronze one in 1862. After his death in 1866,his wife and his son Paul-Charles (1848-1926) took over his activity under the corporate name « Sormani Veuve Paul et Fils » (meaning, « Sormani widow Paul and sons ») until 1886, when Paul-Charles became the only director. The workshops of the 10, rue Charlot used to employ about a hundred of workers, amongst them leather craftsmen, goldsmiths, cabinetmakers, etc. and collaborated with famous artists, like the designer and cabinetmaker Edouard Lièvre (1828-1886) for some pieces of furniture. The house’s success remains constant as testified by the participation to the World’s Fairs of 1878, 1883 and 1889, where it was awarded respectively a gold medal, the Diplôme d’honneur and the Grand Prix. In 1914, Paul-Charles Sormani associated himself with Thiebault Frères, creating the Thiebault-Sormani firm settled at the 134, Boulevard Haussmann, and which production was characterised by high quality pieces in the Louis XV and Louis XVI styles. The firm closed in 1934. Our writing set is characteristic of the luxuous production of marquetry of the Maison Sormani. With a sumptuous mahogany and ebony marquetry adorned with refined ivory patterns, the angled chest opens itself through two frontal doors, discovering plenty of small compartments with serrated edges where one was supposed to put the letters, paper and ink pot. The left door leaf is lined with electric blue velvet, and thought in order to welcome all the small tools with their ivory handles necessary to write a correspondence, such as a seal or a dip pen. Meanwhile, the right door leaf retains a calendar dating back from 1875, and a piece of paper on which some inscriptions are still legible. Underneath is a drawer locked with a key, allowing to keep the correspondences safe.

Ref.15042
Ernest CHAPLET for the HAVILAND manufacture, Vase with aquatic plant decoration, circa 1880

This vase was executed by Ernest Chaplet for the Haviland & Co. manufacture, as evidenced by the mark “H&Co” surrounded by a chaplet incised under the base. Merchant David Haviland (1814-1879) initially created an import business of earthenware and porcelain with his elder brother in 1838 in New York, Haviland Brothers. In 1842, he founded his own porcelain manufacture in Limoges. He was awarded a gold medal in 1853 in New York and received a silver medal at the World Fair in Paris in 1855. The greatest artists, including Ernest Chaplet, worked for his company, which was taken over by his descendants. Ernest Chaplet (1835-1909) first learned stoneware work in Normandy. Then, employed by Haviland & Co. in Limoges, he opened a workshop in Paris. He became independent in 1885, then sold his workshop to Auguste Delaherche in 1887. In 1888, he settled in Choisy-le-Roi and dedicated himself to researching copper reds and flamed porcelain. Around 1900, he focused his production on thick flamed porcelain. In the 1880s, Chaplet primarily produced brown stonewares decorated with colored clays and incised motifs, like our vase. The incisions reveal the underlying stoneware color, while the colored and gilded clay decorations provide great luminosity to the design. The decoration evokes aquatic flora: two large lotus flowers surrounded by reeds stand out against a green and blue background reminiscent of the water’s edge. Above, a swarm of butterflies hovers over the scene. The color variations add to the relief effects created by the artist through the addition or incision of material. The vase bears the number 83, next to the inscription BR 2/2. A very similar vase, with its simple form and technique, decorated with flowers and arrowhead leaves, is in the Musée d’Orsay in Paris.