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.11360
Gabriel VIARDOT (attributed to) - Asymmetrical cabinet with rich engraved and sculpted decoration of extreme oriental inspiration

The realization of this cabinet is attributed to Gabriel Viardot, famous parisian cabinetmaker, specialized in chinese and japanese style furniture in the second half of the 19th century. Opens on the left side to a small door and a drawer with a gilded bronze grip on which a shelf with an openwork decoration of interlacing is supported. The door leaf is decorated with a large vase decorated with mother-of-pearl and bone inlay and adorned with carved flowers. On the right side a large door with a mirror and a richly carved pediment.

Ref.11866
Neo-Renaissance style cupboard in walnut carved with portraits in medallions

Neo-Renaissance style cupboard in carved walnut made in the 19th century. It opens with four drawers and two leaves decorated with profiles carved in bas-relief.

Ref.13171
CRISTALLERIE DE BACCARAT, Neo-Greek, krater-shaped vase, made out of coated crystal, and etched through hydrofluoric acid, 1867 World’s Fair

This krater-shaped vase made out of coated crystal is a work from the Baccarat crystal-glass making factory, between 1862 and 1867, year when similar models were displayed at the Parisian World’s Fair. It is the Baccarat manufacture’s second entry, the first being at the first Parisian World’s Fair of 1855. Baccarat does win a gold medal, in particular for two vases made out of ruby red crystal, and a crystal fountain of seven meters high. Created under Louis XV’s reign, the crystal-glass making factory got its international fame through its participations, all along the 19th century, and until 1937, to the World’s Fairs.he works of the manufacture are scarcely signed between 1764 and 1860, year where the first labels did appear punctually. Fifteen years later, a seal with the name of the firm is placed on some blowing models and gilded bronze pieces. It is not until 1936 that the « BACCARAT » brand, with a carafe and two glasses, started appearing systematically on every production. During the 1867 World’s Fair, Baccarat inspired itself from the Bacchus cult for most of its production. We can see in our vase the influence of ancient ceramics through the shape of a krater – a piece of ceramics used by Greeks to dilute wine with water – as well as in the composition and the decoration’s subject. The latest is engraved thanks to hydrofluoric acid, a technical mastered by the German chemist Louis Kessler in 1855, who did improve the chemical formula of the bath to make it less aggressive and thus, less dangerous. Baccarat bought the patent in 1864, allowing the manufacture to diverse its production and to reach a new level of virtuosity. Detaching themselves from an opaque, white background, pink colored figures are represented in the spirit of ancient decorations on ceramics. We can see on one face a maenad wearing a spinning drapery, holding a drinking cup in one hand and a thyrsus in the other – a stick similar to a scepter and crowned with a pine cone, Dionysus’s attribute. On the other side, two figures are placed face to face, a masculine and a feminine one. They might represent the divine couple of Dionysus and Ariadne : she is sat on an ancient seat, richly dressed, and addressing the half-naked young man that is also carrying a thyrsus. In order for this decoration to be perfect, the two figurative scenes are framed with different patterns : palm motif, interlacing, Greek key frieze and laurel leaves.The handles have been realized after : they were shaped in clear crystal, and then adorned with gold painting applied with a brush. Even if, until today, our vase is the only one known showing this krater shape and the color rose, other similar models, with similar decorations, does exist – in particular in blue and yellow. Moreover, this bacchanal scene on an opaque white background have been applied on other pieces produced by the firm, that can be seen in museums’ collections, such as the Corning Museum of Glass, the Chrysler Museum of Norfolk, the Musée d’Orsay or at the Petit Palais.

Ref.10917
Édouard LIÈVRE (Author of the model, 1829 – 1886), Paul SORMANI (cabinetmaker, 1817 – 1874 or 1875) Neo-Renaissance ceremonial sideboard and buffet

This exceptional set of neo-Renaissance furniture designed by Édouard Lièvre was crafted by Paul Sormani, a renowned Italian cabinetmaker based in Paris. Enhanced with gilded bronze, marble inserts, and enamel plaques, this ceremonial sideboard and buffet are extremely refined and erudite. The pieces are signed with the initials “EL” and bear the Sormani workshop plaque. After the cabinetmaker's death, the company took the name “Veuve Sormani et Fils,” whose furniture bears the signature from 1877-1880 onwards. Signed “Paul Sormani,” our set would therefore predate 1877. The sideboard rests on two fluted Corinthian columns with rings. A series of drawers frames a sea green marble top. The imposing top is made of marble and the molded backrest features gilded bronze inserts. The popularity of troubadour painting and romantic subjects certainly explains the choice of characters for the gilt bronze medallions depicting the profiles of Charles VII and his mistress Agnès Sorel. The medallions are framed by bronze appliqués decorated with candelabra scrollwork. In the center of the composition, a diamond shape displays its gilt bronze scrollwork. The ceremonial sideboard is also richly decorated and full of references to Renaissance art. The lower section is organized around three central semicircular niches composed of rare bulging columns; the spandrels are decorated with sea green marble inserts. The doors feature two superb gilt bronze medallions depicting the profiles of Henry IV and his mistress Gabrielle d'Estrée: the Renaissance period and the theme of passionate love are once again mythologized and elevated to romantic ideals. The pilasters feature marble diamond motifs, typical of 16th-century ornamentation. Édouard Lièvre combines different artistic media by inserting decorative enameled plaques into the upper register doors. These are directly inspired by the bas-reliefs of the Fontaine des Innocents created in 1548 by Jean Goujon, a famous sculptor at the court of Henry II. They are flanked by gilded bronze appliqués in the Renaissance style (festoons, mascaron, foliage, volutes). The upper register is organized around two semicircular niches composed of fluted and ringed Corinthian columns. The projections of the cornice feature a frieze of Greek waves and sea green marble plaques. The ensemble is crowned with coats of arms supported by gilded bronze acanthus leaves. The sideboard and its buffet are fine examples of Édouard Lièvre's talent for reinterpreting antique styles using modern techniques (electroplating) and his collaborations with the greatest cabinetmakers of the period. As well as reflecting the popularity of the Neo-Renaissance style in France during the 19th century, this set once again demonstrates the archaeological interest and immense erudition of its designer, who found inspiration in the streets of Paris and the capital's museums. In a similar style, Lièvre created a mirror for Sarah Bernhardt around 1875 and several Neo-Renaissance cabinets, some of which are decorated with decorative enamel plaques. In addition, the catalog of the dispersal of Édouard Lièvre's estate (Drouot sale, March 21-24, 1887) lists nearly fifteen Neo-Renaissance pieces of furniture.

Ref.15727
Large glazed porcelain vase from the Sèvres manufactory, decorated in 1880 by Taxile DOAT

Large glazed porcelain vase from the Sèvres manufactory, decorated in 1880 by Taxile DOAT, one of the most renowned ceramic artists of his time, celebrated for his mastery of pâte-sur-pâte and enamel techniques. The body features a blue and cream marbled glaze with three grisaille medallions depicting putti as gardeners, one signed “TP”. The allegorical scenes are framed by gilt Rococo-style cartouches and embellished with colorful floral garlands. The vase is mounted on a gilt bronze Rocaille base, richly detailed. Underside bears the Sèvres marks: red stamp “Sèvres Décoré 80” and green “S.80” mark