CELEBRATING 45 YEARS
ART & ANTIQUES
Since 1969 CATALOGUE 1
Defensa 1080 San Telmo, Buenos Aires, Argentina. Tel: +541143615272 Fax: +541143615272 Email: firstname.lastname@example.org Website: www.bolmaniantiques.com.ar
All items in this catalogue are for sale subjetc to availability and to our standard terms & conditions of sale.
Established in 1969, Bolmani Antiques is an international familyowned business and one of Argentina’s leading dealers in 19th century furniture and works of art. Bolmani Antiques first headquarter was located in the residential neighbourhood of San Isidro, where Mr. Nicio Boltiansky decided to expand the business to the global market given the increasing demand in high-quality art pieces. 10 years after, Mr. Boltiansky moved Bolmani Antique’s showroom to a bigger location in Avenida del Libertador in the well-known neighbourhood of Martinez. During this period of time, he specialized in 19th century furniture and objects. In 1993, Nicio Boltiansky retires and passes the baton to his son, Marcelo Boltiansky, who from early age showed a deep interest in art. Marcelo used to visit and appraise art collections along with his father, and was also present in art auctions taking place in Buenos Aires and the surroundings. Marcelo Boltiansky moved Bolmani Antiques showroom to the historical district of Buenos Aires, San Telmo, where the major antique showrooms are located. The owner achieved an important expansion at the national and international level. His deep knowledge of XVII, XVIII and XIX objects, furniture and paintings made the owner become a recognised antique-dealer known by the authenticity, safety and quality of his pieces, not only in Argentina, but also around the world. Recently, Bolmani Antiques moved across the third generation. Ariel Boltiansky and Tatiana Bolstianky are in charge of a deep examination of the acquired pieces and also manage and develop international commercial relationships. Nowadays, Bolmani Antiques is one of the major Argentinian exporters of art pieces and main supplier to decorators, dealers, private art collectors and highlighted auction houses such as Christie’s, Sotheby’s, Bonham’s and Millon, among others. 45 years have gone by since the opening of Bolmani Antiques. Presenting this catalogue, which tells part of our story and displays some of our pieces, is such an honour to all of us.
Our services: Bolmani Antiques have over 40 years experience in exporting by sea and air to our clients all around the world. We make all necessary arrangements to make the process as easy and efficient as possible. . We offer a packing service that guarantees the utmost care of your items. We have specialists in Spain, US and Argentina willing to provide a free appraisal of your artworks. Contact us by phone or via email. Our representatives travel to purchase your antiques, paying prices established by the international market.
A VERY FINELY ENGRAVED IVORY INLAY AND SILVERED-BRONZE MOUNTED EBONY AND EBONIZED SIDE CABINET NORTHERN ITALY, THIRD QUARTER 19TH CENTURY ATTRIBUTED TO FERNANDINO POGLIANI. of architectural form, the arched upper structure centered by Venus attended by nymphs, flanked by Corinthian columns and fitted with three cupboard doors above three drawers, the lower structure with three frieze drawers above three cupboard doors, the cabinet finely decorated with acanthus scrolls, flowing floral and fruiting vases, Renaissance style masks, chimeras and animals
Height: 97 in / 246.5 cm. Width: 51 in / 129.5 cm. Depth: 23 in / 58.5 cm.
Artist Biography: Ferdinando Pogliani (active 1860’s and 1870’s) worked with his sons Paolo and Carlo in his workshop in Borgo di Porta, Vittoria N.81, Milan. Later he had a showroom in the elegant Via Monte Napoleone and won prizes in several leading exhibitions, becoming one of the city’s leading cabinet-makers. His entry in the encyclopedic history of Milan reads: ...`much sought after and very expensive is ivory and ebony inlaid furniture. In this field Pogliani excels with his perfect technique which was very much admired at the exhibition in 1881.’ He specialized in the manufacture of large architecturally inspired pieces of furniture made from ebony inlaid with ivory, tortoiseshell and pietre dure with gilt-mounts. The subject matter included amorini, flowers and mythological subjects and animals. Literature: Giacomo Wannenes, Mobili d’Italia l’Ottocento, Milano, 1987, pp. 57 and 58, showing cabinets with similar bronze vigures and vases.
A LARGE PAIR OF GILT BRONZE MOUNTED SÈVRES STYLE PORCELAIN AND GREEN MARBLE PEDESTALS PARIS, CIRCA 1890. Both of tapering form, the bases fronted by a mask of Hercules, each uniquely decorated with hunter scenes, hand-painted and signed Despres/Sèvres.
Height: 47 3/4 in / 122 cm.
A VERY FINE GILT-BRONZE MOUNTED KINGWOOD KIDNEY-SHAPED WRITING DESK
PARIS, LAST QUARTER 19TH CENTURY, THE MOUNTS CAST BY LÉON KAHN IN THE MANNER OF ADAM WEISWEILER.
Artist Biography Though little is known about Léon Kahn and his oeuvre, his signed works were heavily influenced by the 18th century ébénistes, including Weisweiler, Cressent and Gaudreaux.
Height: 29.5 in / 75 cm. Width: 41 in / 104.2 cm.
A VERY FINE LATE 19TH CENTURY FRENCH ORMOLU-MOUNTED LOUIS XVI STYLE GRANDFATHER CLOCK BY MAISON FOREST THE ENAMEL DIAL SIGNED FOREST/A PARIS. Artist Biography: Maison Forest was established at 14 rue Pierre-Picard in 1883 and at 31 rue Cambaceres, Paris. The furniture created by Maison Forest is notable for its high quality gilt-bronze mounts and sophisticated decoration that was highly demanded by the most notable collectors of the world. Height: 110.2 in / 280 cm.
A FRENCH ORMOLU-MOUNTED ROUGE MARBLE URN BY BELNOT
LATE 19TH CENTURY
A French ormolu-mounted rouge marble urn on pedestal. By Belnot, Late 19th Century. The moulded rim above a brass-lined interior and waisted fluted neck and bulbous body hung with drapery, floral festoons and two putti, applied with a pair of satyr-mask handles, with acanthus-cast lower section, on circular spreading stem, square base and cloven feet.
Height: 27 in / 68.6 cm.
A FINE ITALIAN ALABASTER SCULPTURE OF A YOUNG FISHERMAN STANDING ON A ROCK AND HOLDING A NET ON HIS HAND ITALIAN, LATE 19TH CENTURY. Height: 39.4 in /100 cm.
AN EXEPCTIONAL AND MONUMENTAL PAIR OF ORMOLU-MOUNTED SEVRES STYLE COBALTBLUE GROUND VASES AND COVERS XIX CENTURY, BOTH SIGNED: EUGENE POTEVIN (1806-1870).
Height: 53 in / 135 cm.
Each with a cover and pineapple finial. Both decorated to the front with a finely painted cartouche depicting courtly figures and to the back with French typical landscapes.
A VERY FINE MEUBLE À HAUTEUR D’APPUI BY FRANCOIS LINKE A FINE FRANÇOIS LINKE’S LOUIS XV STYLE MEUBLE À HAUTEUR D’APPUI. THE VERNIS MARTIN CABINET’S CENTRAL DOOR HAS A ROMANTIC SCENE AND PARQUETRY ON ITS SIDES. IT ALSO HAS A BRÈCHE D’ALEP MARBLE TOP.
Height: 43 in / 110 cm. Width: 45.5 in / 116 cm. Depth: 17.5 in / 44 cm.
Artist biography: François Linke (1855 - 1946) was the most important Parisian cabinet maker of the late nineteenth and early twentieth centuries, and possibly the most sought after cabinet maker of his period. He was born in 1855 in the small village of Pankraz, in what is now the Czech Republic. Records show that Linke served an apprenticeship with the master cabinetmaker Neumann, then in 1875 at the age of 20 he arrived in Paris where he lived until he died in 1946. It is known that the fledgling Linke workshops were active in Paris in the Faubourg St. Antoine as early as 1881, and during this time he supplied furniture for other more established makers such as Jansen and Krieger. The quality of Linke’s craftsmanship was
unsurpassed by any of his contemporaries and reached its peak with his spectacular stand at the Paris Exposition Universelle in 1900, where his Grand Bureau took the gold medal. He gambled his fortune and reputation on this stand, exhibiting several breath-taking items of furniture with sculptural mounts of the most exceptional quality and proportion. His gamble worked and his reputation was established to such an extent that Linke continued to be the pre-eminent furniture house in Paris until the Second World War. As the Art Journal reported in 1900 on Linke’s stand: The work of M. Linke ... was an example of what can be done by seeking inspiration amongst the classic examples of Louis XV and XVI without in any great sense copying these great works. M. Linke’s
work was original in the true sense of the word, and as such commended itself to the intelligent seeker after the really artistic things of the Exhibition. Wonderful talent was employed in producing the magnificent pieces of furniture displayed.... The formation of Linke’s distinctive style was made possible by his collaboration with the sculptor Léon Messagé. Together Linke and Messagé designed furniture for Linke’s 1900 exhibition stand, with exuberant allegorical figures cast in high relief, that exemplified Linke’s ability to seamlessly merge the
different mediums of wood carving, bronze and marquetry into a dynamic unified whole. Today Linke is best known for the exceptionally high quality of his work, as well as his individualism and inventiveness. All of his work has the finest, most lavish mounts, very often applied to comparatively simple carcasses of quarter veneered kingwood or tulipwood. The technical brilliance of his work and the artistic change that it represented were never to be repeated.
A FINE CARVED WHITE MARBLE FIGURE OF AN ORIENTAL DANCER PROFESSOR RICCI. Height: 45.5 in / 115.5 cm.
Modelled climbing steps with head tilted back and arms held out in front, on a stepped mottled black marble base.
Width: 27.6 in / 70 cm.
A smaller version of the model, exectuted in two tones of alabaster and signed â€˜D.Zoi Firenzeâ€™, is in the Hotel Florida, Calle del Obispo 252, Cuba. It could be that the current lot is the original larger exhibition marble.
Depth: 12.6 in / 32 cm.
Ricci worked at the notable workshops of Romanelli and Lapini in Florence in the early 20th century. Other pieces known by the sculptor show his style evolved from the traditional Romantic manner to a more modern treatment, such as that shown in the current lot, as Art Deco became increasingly influential.
A WHITE MARBLE AND ONYX FIGURE OF CLEOPATRA ON PLINTH BY FERDINANDO VICHI, FLORENCE, LATE 19TH CENTURY.
Height: 56½ in / 143.5 cm.
The figure with parcel-gilt embellishments set with ‘jewels’, signed F. Vichi Firenze to the reverse of the base, raised on a later mirrored plinth
Width: 53¾ in / 136.5 cm.
Intertwining history and legend, the story of Cleopatra (68-30 B.C.) has inspired artists for centuries. Here the infamous Queen of Egypt is depicted seductively reclining on a monument of similar renown: the sphinx. With her forlorn gaze and dejected manner, she may be reflecting on her storied past or, more likely, contemplating her eventual suicide by cobra bite, a theme alluded to by the serpent coiled around her left arm, and one frequently represented by artists of the period. The present group seamlessly intertwines highly polished marble and richly veined onyx in a manner that would, no doubt, have appealed to patrons of the late 19th century whose penchant for exoticism created a burgeoning market for similar sculptures. Ferdinando Vichi, the creator of the present work, is an artist about whom seemingly little is known. His grandfather founded the prolific Gallerie Vichi in Florence, and he also collaborated with the city’s Bazzanti gallery. Works by Vichi which have appeared at auction in recent memory include monumental representations of mythological, allegorical and literary figures, and all demonstrate the careful attention to detail and finish which would have distinguished his work from that of his contemporaries.
Depth: 20 in / 51 cm.
A PATINATED-BRONZE AND CARVED IVORY WITH A MARBLE BASE OF A RUSSIAN DANCER RENE-PAUL MARQUET (FRENCH, 1875-1939). Inscribed R.Marquet in the maquette. Artist Biography: René-Paul Marquet, best known for his chryséléphantine sculptures, studied under Émmanuel Fontaine as well as with the master sculptor and painter Alexandre Falguière at the École Nationale des Beaux Arts in Paris. He exhibited regularly at the Paris Salon and earned an honorable mention in 1909.
Height: 16 in / 42 cm.
A PATINATED-BRONZE AND CARVED IVORY WITH A MARBLE BASE OF A SPANISH DANCER HENRI FUGERE.
Inscribed H.Fugere in the maquette. Artist Biography: Fugere was predominantly an Art Deco sculptor, initially specialising in playful bronzes of idealised beauties, such as ‘Salome’ and ‘The Flapper’. The present bronze is in direct contrast to this in its replacement of frivolity with a realistic portrayal of a soldier in action; perhaps an indication of the affect war had on the French spirit in general. Fugere studied with Barrias, Cavelier and Puech and exhibited at the Paris Salon.
Height: 18 in / 45 cm.
STEPAN DMITRIEVICH ERZIA (1876-1960) FEMALE HEAD. Height: 21.5 in / 55 cm. Width: 24 in / 60 cm.
Artist Biography: Stepan Dmitrievich Erzia (Nefyodov); November 8 1876 – 24 November 1959) was a Mordvin sculptor who lived in Russia and Argentina. Erzia chose his pseudonym after the native ethnic group, the Erzya Mordvins. He was born October 27, 1876 in the village Bayevo, Alatyrsky Uyezd, Simbirsk Governorate of Russian Empire. In 1892 his family moved to Alatyr; Stepan became an apprentice of various icon-painting studios. In 1893–1897 he lived in Kazan, previously at the joiner’s shop, later he worked at P. A. Kovalinski’s icon-painting studio in Kazan. That time Erzia decorated churches in the various cities and villages of the Volga area and
attended Kazan Art School. In 1902–1906 he studied at Moscow School of Painting, Sculpture and Architecture, participating in the exhibitions of the School’s students. In 19061914 he lived in Italy and France. He took part in the exhibitions in Venice and Milan in 1909, in Paris in 1912. In 1914 he returned to Russia and in 1918 he moved to Yekaterinburg where he created his monumental works of art. In 1921 he moved to Novorossiysk, then to Batumi. Living there, he created portraits of Lenin, Marx and Engels, many cultural workers of Georgia. In 1923 he lived in Baku, where he created in monumental genre.
In 1926 the Soviet government took a decision to send Stepan Erzia abroad “to spread the knowledge of the Soviet art”. He came to Paris again. Again his one-man shows were sponsored followed by positive response in the Western press. In 1927–1950 he worked in Buenos Aires, creating portraits there of Lenin, Moses, Tolstoy, and Beethoven. There Erzia, a representative of a minor and browbeaten nation, developed a project of transforming entire mountains in the Andes into monuments to the heroes of the war for independence. The local authorities approved his plan, but failed to finance its implementation.
While in Argentina, Erzia invented a method of processing some locally grown, extra-hard types of wood: algarrobo and quebracho. In 1950 he returned to the Soviet Union. In 1956 he was awarded with the Order of the Red Banner of Labour. Stepan Erzia died in 1959 in Moscow and was buried in Saransk, the capital of Mordovia. On 26 June 1958 Mordovian Erzia Museum of Visual Arts (Russian: Мордовский республиканский музей изобразительных искусств им. С.Д.Эрьзи) was opened in the Mordovian capital Saransk. The museum has the most complete collection of Erzia works (204 works).
A FABULOUS GILT BRONZE AND CARVED IVORY GROUP OF DIANA THE HUNTER
A fabulous gilt bronze group of the beautiful goddess seated side saddle. The figure of Diana with hand carved ivory head, arms, legs and body. The sculpture raised on a stepped in a green marble signed by A. Calmels. CIRCA: 1900 Diana The Hunter in the arts: Since the Renaissance the myth of Diana has often been represented in the visual and dramatic arts, including the opera L’arbore di Diana. In the 16th century, Diana’s image figured prominently at the châteaus of Fontainebleau, Chenonceau, & at Anet, in deference to Diane de Poitiers, mistress of Henri of France. At Versailles she was incorporated into the Olympian iconography with which Louis XIV, the Apollo-like “Sun King” liked to surround himself. Diana is also a character in the 1876 Léo Delibes ballet Sylvia. The plot deals with Sylvia, one of Diana’s nymphs and sworn to chastity, and Diana’s. assault on Sylvia’s affections for the shepherd Amyntas.
Height: 21 in / 54 cm.
A VERY FINE MARBLE SCULPTURE OF “LEDA AND THE SWAN” ARISTIDE FONTANA. A Very Fine Italian 19th Century Carrara Marble Sculpture of “Leda and the Swan“ depicting a seated maiden on a rocky outcrop next to the swan, raised on circular base, by Aristide Fontana, Carrara. Inscribed to the reverse “Aristide Fontana Sc./Carrara”. CIRCA: 1880
Height: 40 in / 102 cm.
A VERY FINE AND EXTENSIVE ORMOLUMOUNTED FRENCH LOUIS XVI STYLE DINING TABLE WITH 24 CHAIRS FRENCH, XIX CENTURY. The table has 6 leaves that make it comfortable for up to 24 people. It has 24 original French chairs.
Minimum lenght: 82.7 in / 2.10 mts. Maximum Lenght: 240.2 in / 6.10 mts.
A FINE ORMOLU-MOUNTED FRENCH LOUIS XV STYLE DINING TABLE WITH 10 CHAIRS FRENCH, XIX CENTURY. The table has 4 leaves that make it comfortable for up to 24 people. It has 2 more optional armchairs available as seen in the image.
Minimum lenght: 70.9 in / 1.80 mts. Maximum Lenght: 149.6 in / 3.80 mts.
A VERY FINE FRENCH GILTWOOD AND AUBUSSON FIVE-PIECE SALON SUITE LATE 19TH CENTURY. Comprising a canapé and four fauteuils with romantic and hunting scenes.
A VERY FINE PAIR OF ORMOLU-MOUNTED MARBLE VASES WITH TWO CHERUBS ON BOTH SIDES BY MILLET SIGNED MILLET A PARIS ON EACH VASE.
Height: 19.7 in / 50 cm.
Artist Biography: Established by Théodore Millet in 1853, the Maison Millet operated until 1902 from premises at 11, rue Jacques-Coeur, Paris, before relocating to 23, boulevard Beaumarchais. Specializing in meubles et bronzes d’art, genre ancien et moderne, Millet was awarded medals at a number of the Expositions Universelles and, in 1902, was authorized by the director of the Palais de Versailles to replicate Marie-Antoinette’s celebrated Grand Cabinet Bijoux. An auction of the firm’s inventory was held in 1906 and they finally ceased trading in 1918.
A FINE AND LARGE FRAMED FLORENTINE PIETRE DURE PANEL, ENTITLED ‘RETURN FROM THE MARKET’ BY MARIO MONTELATICI, FLORENCE, CIRCA 1920.
The lower left corner signed Montelatici, within an ebonised and parcel giltwood frame. Artist Biography: Mario Montelatici, son of Giovanni, began making Pietre dure mosaics at the age of nine, completing his last work just four days short of his death in 1974 at the age of 90. Drawing inspiration for his compositions from the paintings of the Tuscan Macchiaiolo School and Southern Italian artists, his production encompassed a wide variety of themes, with particular emphasis on scenes of domesticity and rural life. The present lot is typical of his work, both in its superlative technique, and its genre subject. The chosen subject here is after a painting by Stefano Bruzzi (d.1911), which won a price in the Parma Exhibition of 1888. Another example of this panel, commissioned by Marjorie Merriweather Post for Mara-Lago, is part of the the Gilbert collection (Cf. A. Massinelli, The Gilbert Collection, Hardstones, London 2000, p.175).
Height: 41 in / 104.1 cm. Width: 32½ in / 82.5 cm.
A MUSEUM QUALITY FRENCH ORMOLU-MOUNTED MAHOGANY WARDROBE OF LOUIS XV STYLE BY MAISON FOREST IN THE STYLE OF ANDRE CHARLES BOULLE.
Height: 112 in / 285 cm.
Signed in the door “Ameublements Forest Paris / 31 Rue Cambaceres, 17. Rue La Bootie” There is a very similar example of the following Cabinet in the Wallace Collection, England.
Width: 78.5 in / 200 cm.
Artist Biography: Maison Forest was established at 14 rue Pierre-Picard in 1883 and at 31 rue Cambaceres, Paris. The furniture created by Maison Forest is notable for its high quality gilt-bronze mounts and sophisticated decoration that was highly demanded by the most notable collectors of the world.
Depth: 19.7 in / 50 cm.
A CHARLES X ORMOLU AND CARVED HARDSTONEMOUNTED AND PIETRA DURA-INLAID KINGWOOD AND ROSEWOOD CASKET CIRCA 1830, THE PIETRA DURA PLAQUES FLORENCE, 18TH CENTURY The hinged top centered by an ormolu finial and flanked by two oval panels with foliate and fruit bouquets of carved hardstones in gadrooned ormolu borders, each corner mounted with a griffin and connected by ormolu foliate swags, centered by a princely crown, the projecting cornice mounted with ormolu border, the sides with inset pietra dura panels of flowers and birds within ormolu borders, each canted corner mounted with a winged putto issuing from scrolling acanthus leaves, centered on the long sides with ormolu mounts of putti flanking a female mask and holding floral garlands, raised on a molded base on circular ormolu feet, on a later carved giltwood stand, second half 19th century.
Height: 16 1/2 in / 42 cm. Width: 22 1/2 in / 57.5 cm. Depth: 15 in / 38 cm.
With its lavishly carved hardstone panels, eighteenth-century Florentine pietra dura plaques and elaborate ormolu mounts, this luxuriously decorated casket belongs to a group of particularly sumptuous boxes favored by the European elite in the first half of the nineteenth century. The origin of such pieces can be traced back to the extravagant creations of seventeenth-century master makers of Italy, Germany and Flanders who used superb stone-inlaid panels in their pieces ranging from smaller caskets to large cabinets on stands, such as lot 5 in this sale. The taste for these works waned in the first half of the 1700s but was revived by some of the most important furniture makers of the last quarter of the eighteenth century, such as Adam Weisweiler and Martin Carlin. Late eighteenthcentury French makers preferred using Florentine Baroque pietra dura plaques and hardstone carvings from the Gobelins workshop; a custom that persisted throughout the second quarter of the nineteenth century. It was first in England during the years of the Regency and the reign of George IV that caskets and caskets on stands similar to the lot offered here appeared in the collections of the British aristocracy. Their manufacturers and retailers were the most influential tastemakers and craftsmen of the era, such as Robert Hume. These caskets were based on earlier, most often Italian, models such as the one acquired by George IV and currently in the Royal Collection (RCIN 11895). An excellent English example of a casket on stand based on Baroque
prototypes was sold Sothebyâ€™s New York, October 21-22, 1999, lot 456. In continental Europe, the 1820s and 30s saw the first signs of interest in historicism and the emerging curiosity in the Gothic, Renaissance and Baroque styles. In France, after the fall of Napoleon the restored Bourbon kings looked back at the Ancien RĂŠgime with great nostalgia and adapted some of its artistic achievements to their own taste. The use of carved hardstone panels and pietra dura plaques echoed not only the latter years of Louis XVIâ€™s reign, but also the bygone eras of
great European monarchs and princes. The casket offered here is the product of this stylistic and ideological shift and recalls the time and taste of the illustrious rulers of the seventeenth and eighteenth centuries. In addition to their decorative value, the Florentine pietra dura plaques on this casket pay homage to the Renaissance and Baroque in Florence and its incontestable contribution to the arts. The carved hardstone panels are in the manner of those produced at the Gobelins manufactory during the reign of Louis XIV; a French king with whom the post-Napoleonic Bourbon rulers, namely Louis XVIII and Charles X, wanted to show continuity
and nexus. Thus, this casket is not only a luxurious object, but also an embodiment of the political aspirations and principals of the Restauration. As with many other such boxes, the present example was most likely fitted as a jewelry coffer or served as a chest containing pieces of an amateurâ€™s collection. It is also possible that it served as a diplomatic gift as such pieces were occasionally presented by visiting ambassadors well into the late nineteenth century. This casket is decorated with two European princely crowns in ormolu indicating that it cannot be ruled out that this lot was a princely commission or intended as an ambassadorial gift.
A VERY FINE FRENCH GILT-BRONZE 27-LIGHT CHANDELIER, DECORATED WITH FLOWER GARLANDS AND SIX GILDED BRONZE WOMEN CIRCA: 1880. Height: 79 in / 200 cm. Diameter: 47 in / 120 cm.
A FINE LOUIS XV STYLE BRONZE MOUNTED MARBLE FIREPLACE WITH BRONZE MOUNTS DEPICTING FLORA AND ZEPHYR, AFTER THE MODEL BY VERBERCKT AND CAFFIERI AT VERSAILLES FRENCH, CIRCA 1860.
This rare and impressive fireplace has a Breche Violette mantle over an arched lintel centering on a bronze coquille mount, issuing scrolling acanthus and foliate vines. The jambs are mounted with patinated bronze Herm figures .The jambs are raised on a stepped base with gilt-bronze foliate and cartouche mounts. The fireplace is based on a chimney-piece by Jacques Verberckt with gilt bronze mounts by Jacques CaffiĂŠri, supplied for the bedchamber of the Dauphin at Versailles in 1747. A very similar nineteenth century example with gilt-bronze and dark patinated bronze figures of Flora and Zephyr to the jambs, is in the Wallace Collection, Hertford House, London.
Height: 51 in / 129 cm. Width: 81 in / 205 cm. Depth: 18 in / 46 cm.
Artist Biography: Jacques Verberckt (1704-1771) was a sculptor and decorator of Flemish French origin. Born in Antwerp to a family of silversmiths, he moved to Paris in 1716 and took up a position in the Bâtiments du Roi, as an ornamental sculptor and virtuoso carver. He gained favour with the Premier Architecte du Roi, Jacques Gabriel V, and his son Ange-Jacques Gabriel and worked on many of the royal châteaux. He was approved (agréé) by the Académie Royale in 1733. Jacques Caffieri (1678-1755) was the tenth son of Phillippe Caffieri (1634-1716), who emigrated from Naples at the request of Cardinal Mazarin to decorate the interiors at Versailles. He was elected to the Académie de Sainte-Luc as a sculptor, and thus created many of the original designs that were proprietary models of his foundry. From 1736, when he was appointed fondeur-ciseleur des Bâtiments du Roi, Caffieri remained in the employ of the French Crown.
A VERY FINE MABLE FIGURE OF A YOUNG BOY PLAYING WITH A BUTTERFLY BY ORAZIO ANDREONI SIGNED ANDREONI. Considering the profusion of marble figures and busts carved by Andreoni, it is surprising that more is not known about this enterprising sculptor. Based in Rome, Andreoni sent works for exhibition as far as Glasgow (1888) and Berlin (1892) and is believed to have been active for a time in America. This exposure established his international reputation. Andreoni specialised in historical and Biblical subjects. Andreoni’s expertise with the chisel is evident here in the skillfull handling of the body, hair, and nature. Other historic subjects he treated included figures of a Pharisee (Sydney Museum), Francesco da Rimini, Messalina, the Blind Nidia, and Hamlet (Bournemouth). Perhaps Andreoni’s greatest contribution was his large workshop in Rome where a generation of sculptors received their training. Notable amongst these was Antonio Rossetti, who appended the words ‘... Studio O Andreoni Roma’ after his signature while working there. Both teacher and pupil made a speciality of portraying figures beneath diaphanous veils to demonstrate their technical mastery of the medium. Related Literature: Panzetta, vol.1, p.72; Vicario vol.1, p.29; Mackay, p.26; Dr. J. Payan, The Statues of York House Gardens Twickenham, 9th Annual Conference of the Fountain Society, 9th September 1995.
Height: 33.5 in / 85 cm.
JEAN-ANTONIN MERCIÉ FRENCH. QUAND MÊME. JEAN-ANTONIN MERCIÉ. Signed A. Mercie, inscribed F. Barbedienne / Fondeur. Paris, with the A. Collas Reduction Mechanique seal. Bronze, dark brown patina with gilt highlights.
Artist biography: After the success of his celebrated bronze group Gloria Victis at the Salon of 1874, Mercié’s bestknown work was the present allegorical group Quand Même, which was erected in 1884 on the Place d’Armes in Belfort, in commemoration of the courage of the citizens of the town during the Prussian invasion of 1870. The original fullsize plaster model was exhibited at the Salon in 1884 and, due to its tremendous popularity, was subsequently cast in bronze in four sizes by Ferdinand Barbedienne, (64 cm, 85 cm, 107 cm, and 125 cm), of which the present model is the tallest. Height: 49.2 in / 125 cm.
A FINE FRENCH LOUIS XV STYLE GILT-BRONZE AND TWELVE-LIGHT CHANDELIER LATE XIX CENTURY. Finely and detailed Louis XV style bronzes of 12 lights with crystals goats and colourful fruits, such as grapes, apples and pears on a centre basket and also falling from every single arm.
Height: 43.3 in / 1.10 mts. Width: 39.4 in / 1.00 mts.
A VERY FINE FRENCH LOUIS XVI STYLE SIDEBOARD CABINET WITH GILDED BRONZE DECORATIONS BY PAUL SORMANI SIGNED “P. SORMANI 134 BOULD HASMANN PARIS”. CIRCA: 1880. Artist Biography: Born in Venice in 1817, Paul Sormani (1817-1877), was a Parisian maker of fine ‘meubles de luxe’. His work was described in the catalogue of the 1867 Exposition Universelle as: ‘toute sa production révèle une qualité d’exécution de tout premier ordre’ (all of his production reveals a quality of execution all of the first order’). Sormani exhibited at the International Exhibitions in Paris in 1849, 1855, 1867, 1878 and 1900, and in London in 1862, winning numerous medals. Paul Sormani established the firm in 1847 at 7, Cimetière Saint-Nicholas in Paris, moving in 1854 to 114, Rue du Temple, and in 1867 to 10, rue Charlot. After his death in 1877 Sormani’s son Paul-Charles took over the business that later moved to 134 boulevard Haussmann.
Height: 82.5 in / 215 cm. Width: 94.5 in / 240 cm. Depth: 21.5 in / 55 cm.
It can be difficult to date Sormani’s work, as the firm produced furniture for nearly ninety years. However, when Paul Sormani died in 1877, his wife and son took over the business and from this date onwards pieces are normally signed ‘Veuve Sormani & Fils’. Maker Bibliography: Mestdagh, Camille and Pierre Lécoules, L’Ameublement d’art français : 1850-1900, Editions de l’Amateur, (Paris) 2010. Meyer, Jonathan, Great Exhibitions - London, New York, Paris, Philadelphia, 1851-1900, Antique Collectors’ Club, (Woodbridge, UK), 2006. Ledoux - Lebard, Denise, Les Ébénistes du XIXe Siècle, Editions de L’Amateur (Paris), 1984. pp. 583-588.
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