DROUOT
Friday 24 May at : 14:00 (CEST)

20th-century decorative arts and sculpture

Ader - 01.53.40.77.10 - Email CVV

Salle 1-7 - Hôtel Drouot - 9, rue Drouot 75009 Paris, France
Exhibition of lots
vendredi 24 mai - 11:00/12:00, Salle 1-7 - Hôtel Drouot
jeudi 23 mai - 11:00/20:00, Salle 1-7 - Hôtel Drouot
Information Conditions of sale
Live
Register
165 results

Lot 2 - LOUIS MAJORELLE (1859-1926) & DAUM NANCY Flambeaux à trois lumières Magnolias (droit et gauche) improperly called Nénuphars, the models presented at the Exposition de l'École de Nancy, Pavillon de Marsan, Paris, 1903 and at the 2nd Salon des Industries du Mobilier, Grand-Palais des Champs-Élysées, Paris, 1905. Rare and exceptional pair of table lamps, right and left, known as Flambeaux à trois lumières and forming pendants. The feet, featuring branches and buds of the Titre type, are in original gilded bronze. The bulb covers, featuring a blooming flower and two flowers before full bloom on each fixture, are made of aniseed-yellow blown-molded glass shaded with amber and finely cold-engraved. Art Nouveau period. Wear and alterations to the gilding of the bronze feet, re-electrification of the two lamps. On the right-hand torch: two accidents and missing parts and two hairs (one very long) on the larger bulb cap (flower in full bloom), a crack from bottom to top and two hairs (one long) on the middle bulb cap. On the left-hand torch: five hairs (approx. 2 to 3cm) on the largest bulb holder (flower in full bloom), a few tiny chips (pinheads) around the perimeter of the other two bulb holders. Each glassware signed DAUM Nancy with the Cross of Lorraine, engraved towards the base. Each lamp: Height: 85cm - Length: 35.5cm History: Originally part of an entire decoration by Louis Majorelle for the mansion of a relative who was a great personality in Lorraine. Exhibitions: - Exposition Lorraine - L'École de Nancy, Pavillon de Marsan à Paris,1903 - A pair of lamps identical to our pair of Flambeaux à trois lumières Magnolias presented at this event. - 2nd Salon des Industries du Mobilier, Grand-Palais des Champs-Élysées, Paris, 1905 - A pair of lamps identical to our pair of Flambeaux à trois lumières Magnolias shown at this event. Public collections: - Musée de l'École de Nancy, Nancy - A pair of lamps identical to our pair of Flambeaux à trois lumières Magnolias, with color variations for the bulb caps, is held in the collections of this institution under inventory numbers482 and 483. - Musée d'Orsay, Paris - A model identical to one of our Flambeaux à trois lumières Magnolias, incomplete with the bulb caps and improperly titled Nénuphar, is preserved in the collections of this institution under inventory number OAO1504. - Royal Museums of Fine Arts of Belgium, Brussels - A model identical to one of our Magnolias three-light Flambeaux is kept in the collections of this institution under inventory number GC 073. - Virginia Museum of Fine Arts, Richmond, USA - A model identical to one of our Flambeaux à trois lumières Magnolias is held in this institution under inventory number 2015.309. Bibliography: - Exposition Lorraine - L'École de Nancy au musée de l'Union Centrale des Arts Décoratifs, Pavillon de Marsan à Paris, 2ème Série: Objets d'Art - Verrerie - Céramique - Cuirs d'Art - Bronze - Peinture décorative - Éditions Armand Guérinet, Paris, 1903. A model identical to one of our Flambeaux à trois lumières Magnolias reproduced on plate 7. - Le Salon des Industries du Mobilier, 1905, Grand-Palais des Champs-Élysées, Deuxième volume - Éditions Librairie d'Art Décoratif Armand Guérinet, Paris, 1905. A pair of lamps identical to our pair of Flambeaux à trois lumières Magnolias reproduced on plate 207. - Appareils pour l'électricité - Majorelle à Nancy - Plate printed in phototype by Bergeret, Nancy, circa 1925. A model identical to one of our Flambeaux à trois lumières Magnolias reproduced under number 4. - Majorelle - Nancy - Catalogue, circa 1908-1910. A pair of lamps identical to our pair of Flambeaux à trois lumières Magnolias reproduced several times (singly and in situation) in this unpaginated publication. - Théodore Lambert (dessins et relevés) - Décorations et ameublements - Intérieurs - Éditions de la Librairie Générale de l'Architecture et des Arts Décoratifs, circa 1905. A pair of lamps identical to our pair of Flambeaux à trois lumières Magnolias reproduced on plate 17. - Maurice Rheims - L'Art 1900 ou le Style Jules Verne - Éditions Art et Métiers Graphiques, Paris, 1965. A model identical to one of our Flambeaux à trois lumières Magnolias reproduced under illustration no. 426 (without pagination). (Full bibliography reproduced in PDF catalog).

Estim. 50 000 - 80 000 EUR

Lot 5 - LOUIS MAJORELLE (1859-1926) Model presented at the Exposition de l'École de Nancy, Pavillon de Marsan, Paris, 1903 Lounge chair in ribbed, molded and carved Cuban mahogany. The cambered front legs, each terminating in a carved reception, continue into moving armrests to join the lateral parts of the backrest. The high, trapezoid-shaped backrest is crowned by a moving molding with whiplash-type sculpted motifs. Art Nouveau period. Used condition, an accident at the top of the left rear leg, non-original upholstery. Height: 114cm - Length: 68cm - Depth: 60cm Historical background: Originally part of an entire decoration by Louis Majorelle for the mansion of a prominent Lorraine personality close to the artist. Public collections: Musée d'Orsay - An identical model is preserved in the collections of this institution under inventory number OAO506. Exhibition: - École de Nancy (L'Alliance provinciale des Industries d'Art), Pavillon de Marsan, Paris, 1903 - A seat identical to our armchair was presented at this event. - L'École de Nancy, 1889-1909 - Art Nouveau et Industries d'art - Galerie Poirel, Nancy, April 24 - July 26, 1999. A chair identical to our own was presented at this event under catalog no. 243. Bibliography: - L'Exposition de l'École de Nancy à Paris, 1ère Série: Le Mobilier - Éditions Armand Guérinet, Paris, 1903. Identical model reproduced on plate 29. - Alastair Duncan - The Paris Salons 1895-1914- Volume III: Furniture- Édition Antique Collectors' Club, 1996. Identical model reproduced on pages 391 and 396. - Alastair Duncan - Majorelle - Édition Flammarion, Paris, 1991. Identical model reproduced on pages 87, 107 and 169. - Collectif - L'École de Nancy, 1889-1909 - Art Nouveau et Industries d'art - Catalogue of the exhibition held at Galerie Poirel, Nancy, from April 24 to July 26, 1999, Éditions RMN/Ville de Nancy, 1999. An identical model is reproduced on page 326 under number 243.

Estim. 1 500 - 2 000 EUR

Lot 8 - REMBRANDT BUGATTI (1884-1916) Drinking giraffe, the model designed around [1907], our proof numbered 7 A sculpture. Proof in bronze with shaded brown patina. Lost-wax casting by Albino Palazzolo. Antique edition by Adrien-Aurélien Hébrard reputed to number twenty-two. Scattered wear to the patina. Signed R. BUGATTI, stamped Cire perdue A.A. HEBRARD and numbered 7 on the terrace. Height: 14.5cm - Length: 17.8cm - Depth: 20cm Important: A certificate of authenticity from Mme Véronique Fromanger, specialist in the work of Rembrandt Bugatti and author of the artist's monographic repertory, will be given to the purchaser at his request and expense. Provenance: - Galerie Albert Benamou, Paris. - Private collection, Paris. Acquired from the former around 1989. Exhibition and related works: - Rembrandt Bugatti sculpteur - Galerie Adrien-Aurélien Hébrard, Paris, May 16 - June 15, 1907. The group Les girafes, face à face, from which our variant of Girafe buvant (Giraffe drinking) is derived, was presented at this exhibition. - Salon des peintres divisionnistes italiens - Galerie Alberto Grubicy, Milan, 1907. The group Les girafes, face à face, from which our variant of Girafe buvant is derived, presented at this event. - Salon de la Société Nationale des Beaux-Arts, Paris, 1908 - The group Les girafes, face à face, from which our variant of Girafe buvant is derived, presented at this event. Bibliography: Véronique Fromanger - Rembrandt Bugatti sculpteur - Une trajectoire foudroyante - Répertoire monographique - Les Éditions de l'Amateur, Paris, 2016. An identical model reproduced on pages 65 and 328 and referenced in the Répertoire des éditions en bronze under number 200 (small model).

Estim. 25 000 - 35 000 EUR

Lot 21 - BERNHARD HOETGER (1874-1949) SCULPTOR & PIERRE-ADRIEN DALPAYRAT (1844-1910) CERAMIST & LA MAISON MODERNE PUBLISHER Le Vagabond, model designed circa [1902]. Sculpture. Proof in polychrome enameled stoneware; the top of the figure treated beige and blue, the pants and oxblood terrace shaded blue-green. Restoration to the cane. Height: 24.5cm Terrace: 14.5 x 13.5cm Exhibition: Bernhard Hoetger 1874-1949, Plastiken aus den Pariser Jahren 1900-1910 - Exhibition at Graphisches Kabinett Kunsthandel Wolfgang Werner KG, Bremen, March 4 - May 14, 1977. A proof of our sculpture model presented at this exhibition under catalog no. 20. Bibliography: - Documents sur l'art industriel au vingtième siècle, reproductions photographiques des principales œuvres des collaborateurs de La Maison Moderne - Édition La Maison Moderne, Paris, 1901. Identical model referenced as n°3303-111 on page 9 in the "Sculpture" section. - Bernhard Hoetger 1874-1949, Plastiken aus den Pariser Jahren 1900-1910 - Catalogue of the exhibition held at Graphisches Kabinett Kunsthandel Wolfgang Werner KG, Bremen, March 4 - May 14, 1977. A proof of our sculpture model reproduced under number 20 (without pagination). - Horst Makus, Helen Bieri, André Dalpayrat, Jean Girel and Madeleine Strobel - Céramique française de l'Art nouveau - Éditions Arnoldsche, Stuttgart (Germany), 1998. The glazed stoneware edition by Dalpayrat of sculptures by Bernhard Hoetger described in the chapter devoted to the sculptor in this book.

Estim. 6 000 - 8 000 EUR

Lot 22 - BORGHILD ARNESEN (1872-1950) & ATELIER HAUTE-CLAIRE Les Bœufs musqués du massif de Dovrefjell, 1903, our work most probably presented at Galerie Georges Petit, Paris, 1903 An oblong-shaped ceremonial soup tureen in silver-plated copper. Each end of the base is adorned with a musk ox head in repoussé metal, forming a rond-bosse and finely engraved. The body of the base features floral decoration engraved in a wide reserve on each side, and rests on four spinning top feet with engraved motifs. The domed lid features four cartouches with engraved decorations of musk oxen grazing on the Dovrefjell massif and floral motifs evoking grazing; the handle is decorated with a flower. Signed, located and dated Borghild ARNESEN - HAUTE-CLAIRE 1903 in engraving inside the lid. Height: 27cm - Length: 38cm - Width: 20,5cm Exhibition: Exhibition of the works of Armand Point and Haute-Claire - Galerie Georges Petit, 1903. A tureen, most probably ours, exhibited at this show. Bibliography: Exposition des œuvres d'Armand Point et de Haute-Claire - Catalogue of the exhibition held at Galerie Georges Petit in 1903. A soup tureen, most probably ours, referenced under number 69 in the catalog and quoted on page 8 (not reproduced). Borghild ARNESEN (1872-1950), goldsmith of the imaginary Norwegian-born Borghild Arnesen is one of the great names in goldsmithing of the first half of the 20th century. Pursuing her ambition to become a painter from an early age, she studied drawing and painting with Harriet Backer and Asta Nørregaard from 1892 onwards, before leaving her native country for Paris, where she studied at the Académie Delécluse between 1895 and 1898. A trip to Rome in 1898 heightened her interest in the metal arts. Determined, the versatile artist sought to master this art, and in 1899 joined the Haute-Claire artists' colony founded by Armand Point at Marlotte, in the heart of the Fontainebleau forest. A complete artist, both painter and master of the decorative arts, Point had gathered around him a community of artists trained in all the arts, in the manner of Renaissance workshops. A mecca for Symbolism, Haute-Claire was the source of an artistic and cultural ferment that remains unrivalled today. Here, Borghild Arnesen was given all the freedom and instruction she needed to develop her artistic temperament - never crushed, but always guided by the genius of her master. Working in embossed and chased copper, Borghild Arnesen created numerous works, mainly utilitarian, such as crockery, toiletries, frames and jewelry. Fauna and flora motifs abound in her creations, testifying to her overflowing imagination and great technical mastery. Nature, and more specifically flowers and animals, thus occupy an important place in his work. But, despite having observed them at Marlotte or the Jardin des Plantes, it was not a direct translation of their features that interested the artist. Indeed, Borghild Arnesen's work seems to be permeated by a certain mystery, a certain magic, which gives the subjects enthroned on her works an almost fantastical aspect. Beyond nature itself, her greatest inspirations are the books and fairy tales of Hans Christian Andersen and Rudyard Kipling, as well as Mexican art, Indian mythology and religious narratives. With humor and irony, her mastery of metal art enabled her to transcribe a variety of motifs from her exceptional decorative imagination. Unjustly forgotten by posterity, Borghild Arnesen enjoyed a certain success during her lifetime, thanks in particular to her numerous appearances at the salons of the early 20th century, where she exhibited in both the painting and goldsmith's and silversmith's sections. The artist sold most of her work to the French public, as well as to a few Norwegian collectors. Having practiced in France, Borghild Arnesen remains little-known in her native country - although the National Museum of Norway preserves many of her works, including reliefs inspired by theosophy.

Estim. 2 500 - 3 500 EUR

Lot 25 - MAISON SERRURIER-BOVY - GUSTAVE SERRURIER-BOVY (1858-1910) FOUNDER Bourgeois model Rare padouk and black-stained wood sideboard. The entablature, opening with two drawers in the waistband and resting on two uprights decorated with a geometric frieze in high relief, is received by a recessed structure with two sliding doors in padouk and black-stained wood opening in a semicircular arc. The upper part features a slightly curved pediment, a panelled back and buttressed cheeks. The drawers, sliding doors and upper niche feature geometric friezes with checkerboard motifs in padouk, black-stained wood and brass. The handles, forming keyholes, are in brass and blackened iron. Circa 1910. Condition and restorations, iron and brass parts oxidized. Height: 142cm - Length: 158cm - Depth: 60cm Bibliography: - Jacques-Grégoire Watelet - Serrurier-Bovy, - De l'Art Nouveau à l'Art Déco - Éditions Atelier Vokaer, Bruxelles, 1986. Two-body variant reproduced on page 106 and on a postcard showing the interior of the Serrurier-Bovy store in Liège reproduced on page 102. - Jacques-Grégoire Watelet - L'œuvre d'une vie Gustave Serrurier-Bovy - Architecte et décorateur liégeois 1858-1910 - Éditions Du Perron, Liège, 2001. Two-body variant featured on a Serrurier-Bovy postcard from Liège, reproduced on page 105. - Françoise Bigot du Mesnil du Buisson and Étienne du Mesnil du Buisson - Serrurier-Bovy, un créateur précurseur 1858-1910 - Éditions Faton, Dijon, 2008. Two-body variant featured on a 1913 postcard showing the interior of the Serrurier-Bovy store in Liège, reproduced on pages 67 and 104.

Estim. 5 000 - 8 000 EUR

Lot 26 - CARLO BUGATTI (1856-1940) Model n°326, the model designed around [1897-1898] and presented at the Turin Exhibitions of 1898 and 1902 Pair of chairs in natural wood and blackened wood; the rear legs continue into backrest uprights and are connected by buttresses topped with hollowed-out circular parts. The truncated disks of the back legs, the openwork belts and the front leg shoes feature geometric motifs in metal marquetry (pewter and brass) on blackened wood. The colonnettes forming the front feet receive copper leaf with repoussé motifs. The tops of the connecting dice, the seat frames, the bars and the backrest disks are also in copper leaf with embossed and pierced motifs. Back medallions held in place by cords (replaced). Seat and back medallions upholstered in parchment. Circa 1900. Used condition, accidents and missing parts on frames, marquetry and copper parts, parchment parts in poor condition, non-original cords, missing passementerie parts on seat falls. Height: 100cm - Width: 40cm - Depth: 45cm Exhibitions (of our seat model): - Esposizione generale italiana del 1898 - Turin, 1898. An identical model presented at this event. - Esposizione generale italiana del 1902 (International Exhibition of Modern Decorative Arts) - Turin, 1902. An identical model presented at this event. Bibliography: - A. De Vecchi (già Bugatti & C.), Fabbrica italiana mobili artistici - Catalogue commercial de la maison De Vecchi & Cie (anciennement Bugatti & Cie), circa 1904-1905. Our model 326 featured in this publication. - Philippe Dejean - Carlo-Rembrandt-Ettore-Jean Bugatti, Éditions du Regard, Paris, 1981. An identical model is reproduced on page 85. - H. G. Conway et al - Die Bugattis, Automobile, Möbel, Bronzen, Plakate - Museum für Kunst und Gewerbe, Hamburg, 1983. An identical model, catalog number C31, is reproduced on page 79 and described on page 80. - Henry H. Hawley et al - Bugatti - Cleveland Museum of Art/University of Washington Press, Cleveland/Seattle, 1999. Identical model reproduced on page 12, on an archive photograph from the 1898 Turin Exhibition. - Marie-Madeleine Massé - Carlo Bugatti at the Musée d'Orsay, Catalogue sommaire illustré du fonds d'archives et des collections - Éditions Musée d'Orsay & Réunion des Musées Nationaux, Paris, 2001. 326, in the Musée d'Orsay collections, referenced under catalog number 8.8, reproduced on page 91 and described on page 90.

Estim. 3 000 - 5 000 EUR

Lot 39 - MARGUERITE DE BAYSER-GRATRY (1881-1975) Amphora with lid, unique piece, our entry in the Salon des Artistes Décorateurs, Paris, 1932 Exceptional and important modernist vase-sculpture; the base flanked by two long monoxyle finials, the lid topped by an equally monoxyle grip. Onyx-marble from Algeria. Height: 60.5cm Provenance: Artist's family. Exhibitions: - 19th Salon des Artistes Décorateurs, Paris,1932 - Our work presented at this event. - Marguerite de Bayser-Gratry, cinquante ans de sculpture - Galerie Bernheim-Jeune, Paris, 1962. Our work presented at this event and referenced under number 42 in the catalog published on this occasion. - Marguerite de Bayser-Gratry, sixty years of sculpture - Galerie Bernheim-Jeune, Paris, 1962. Our work presented at this event and referenced under number 48 in the catalog published on this occasion. - Marguerite de Bayser-Gratry (1881-1975) - Sculptures - Galerie De Bayser, Paris, October 21 to November 5, 2005. Our work presented at this event. Bibliography: - Salon des Artistes Décorateurs, Paris,1932 - Catalogue of this event. Works by Marguerite de Bayser-Gratry cited (several onyx and marble vases) in this publication. - Marguerite de Bayser-Gratry, cinquante ans de sculpture - Catalogue of the exhibition held at the Galerie Bernheim-Jeune in Paris in 1952. Our work reproduced full-page in this publication and referenced under number 42 in the introductory table. - Marguerite de Bayser-Gratry, soixante ans de sculpture - Catalogue of the exhibition held at Galerie Bernheim-Jeune, Paris, 1962. Our work reproduced full-page in this publication and referenced under number 48 in the introductory table. - Marguerite de Bayser-Gratry (1881-1975) - Sculptures - Booklet published for the exhibition held at Galerie De Bayser in Paris from October 21 to November 5, 2005. Our work reproduced on this publication - Jessie Michel - Marguerite de Bayser-Gratry, femme sculpteur (1881-1975)- Catalogue raisonné - Éditions Mare & Martin, Paris, 2010. Our work reproduced on page 28, referenced and reproduced under numbers 3 and 4 (front and back) on page 88 in the Amphora with lid chapter of the catalog raisonné and featured in an archive photograph taken at the Salon des Artistes Décorateurs reproduced on page 291. Marguerite de BAYSER-GRATRY(1881-1975) Marguerite de Bayser-Gratry's vocation was decided by serendipity, but it was hard work and a passion for her art and materials that led to her remarkable destiny as a sculptor1. The importance of his work can be measured by the aesthetic richness and quality of his creations, themselves marked by their great variety, in terms of both subject matter and materials. The typology of her works ranges from early realist works to portraits, decorative objects, colonial sculpture and religious statuary, not forgetting animal sculpture, which made her a household name and where she particularly asserted herself. Throughout her long career, Marguerite de Bayser-Gratry gave free rein to her explorations of form and material, in a perfectionist - and by definition perpetual - quest for stylization and essentiality. The artist began modelling in clay by chance, to counteract her boredom. Her affluent background enabled her to devote herself totally to her art. With neither time nor money to spare, and no need to sell her work, this self-taught artist soon became a renowned sculptor. Presenting her sculptures at numerous salons, she was soon recognized for the quality of her work. The realistic creations of her early years were followed by works that were already full of her own identity. Gradually moving towards a stylization of form and the elimination of all superfluous elements, her style was confirmed through encounters and travels. As soon as he arrived in Paris in 1915, the artist began to create increasingly refined figures. Her first trip to Egypt, five years later, reinforced this trend and was a revelation for the artist, who found in the language of Egyptian art, particularly that of the 4th Dynasty, a new approach to her work. Marguerite de Bayser-Gratry remained forever fascinated by the geometry and purity of ancient Egyptian statuary, and decided to use this symmetry as a guide to shape the features of her own sculptures. It was also in Egypt that el

Estim. 30 000 - 50 000 EUR

Lot 40 - MARGUERITE DE BAYSER-GRATRY (1881-1975) Cup with lid, unique piece, our entry in the Salon des Artistes Décorateurs, Paris,1932 Large circular box with domed lid. The rim of the base and the rim of the top have a protrusion that forms a bead when the two parts are paired. Egyptian marble-onyx. A small chip glued to the edge of the central projection. Height: 11cm - Diameter: 20.5cm Provenance: Artist's family. Exhibitions: - 19th Salon des Artistes Décorateurs, Paris,1932 - Our work presented at this event. - Marguerite de Bayser-Gratry (1881-1975) - Sculptures - Galerie De Bayser, Paris, October 21 to November 5, 2005. Our work presented at this event. Bibliography: - Salon des Artistes Décorateurs, Paris,1932 - Catalogue of this event. Works by Marguerite de Bayser-Gratry cited (several onyx and marble vases) in this publication. - Jessie Michel- Marguerite de Bayser-Gratry, femme sculpteur (1881-1975)- Catalogue raisonné - Éditions Mare & Martin, Paris, 2010. Our work reproduced on page 23, referenced and reproduced as no. 1 on page 134 in the Coupe avec couvercle chapter of the catalog raisonné and featured in an archive photograph taken at the Salon des Artistes Décorateurs reproduced on page 291. Marguerite de BAYSER-GRATRY(1881-1975) Marguerite de Bayser-Gratry's vocation was decided by serendipity, but it was hard work and a passion for her art and materials that led to her remarkable destiny as a sculptor1. The importance of his work can be measured by the aesthetic richness and quality of his creations, themselves marked by their great variety, in terms of both subject matter and materials. The typology of her works ranges from early realist works to portraits, decorative objects, colonial sculpture and religious statuary, not forgetting animal sculpture, which made her a household name and where she particularly asserted herself. Throughout her long career, Marguerite de Bayser-Gratry gave free rein to her explorations of form and material, in a perfectionist - and by definition perpetual - quest for stylization and essentiality. The artist began modelling in clay by chance, to counteract her boredom. Her affluent background enabled her to devote herself totally to her art. With neither time nor money to spare, and no need to sell her work, this self-taught artist soon became a renowned sculptor. Presenting her sculptures at numerous salons, she was soon recognized for the quality of her work. The realistic creations of her early years were followed by works that were already full of her own identity. Gradually moving towards a stylization of form and the elimination of all superfluous elements, her style was confirmed through encounters and travels. As soon as he arrived in Paris in 1915, the artist began to create increasingly refined figures. Her first trip to Egypt, five years later, reinforced this trend and was a revelation for the artist, who found in the language of Egyptian art, particularly that of the 4th Dynasty, a new approach to her work. Marguerite de Bayser-Gratry remained forever fascinated by the geometry and purity of ancient Egyptian statuary, and decided to use this symmetry as a guide to shape the features of her own sculptures. It was also in Egypt that she discovered stones rarely used in the West, which she used regularly, notably for her decorative works. In Marguerite de Bayser-Gratry's body of work, the portion devoted to the decorative arts spans a short period of her career, essentially during the 1920s - a time when the artist was searching for her style. These works - mainly vases - feature simple, elegant forms in a variety of materials, often rare and precious. The balance that emerges from these objects is particularly linked to Egyptian art, which revealed the artist's methodology. The formal sobriety of Marguerite de Bayser-Gratry's decorative objects stems directly from her approach to materials, which she took great care to select. It's easy to see the decorative effect that the sculptor sought to create by highlighting the particularities of the materials she worked with. The simplicity of the forms and the quality of the materials used in these works make them key witnesses to the sculptor's stylistic orientation. These "af

Estim. 15 000 - 20 000 EUR

Lot 42 - EILEEN GRAY (1878-1976) Glace-escalier, 1919-1924, possibly a one-off from Galerie Jean Désert Hanging vanity mirror. The base, evoking a double-flight staircase, is made of sycamore veneer; the central part accommodates a projecting drawer; each end features a recess with a lighting system. The curved top features an original beveled mirror encircled by a wide brown lacquered molding. The back has a removable back and a wall-hanging system. Condition and restorations. Height: 53.3cm - Length: 71.5cm - Depth: 20cm Provenance: Our work was most probably among those dispersed when Galerie Jean Désert closed in 1930 (cf. inventory of stock that year). The artist herself organized the dispersal, bringing together clients and friends to acquire the works on preferential terms. Bibliography: - Wendingen - Eileen Gray, meubelen en intérieurs - N°6 of 1924. Our Glace-escalier, or an identical model, reproduced on page 17. - Henri Verne and René Chavance - Pour comprendre l'art décoratif moderne en France - Éditions Hachette, Paris, 1925. Our Glace-escalier, or an identical model, reproduced on page 209. - J. Stewart Johnson - Eileen Gray, designer - Catalogue accompanying the exhibition at the Museum of Modern Art (MoMA), New York (February 6 - April 1, 1980), Debrett's Peerage Ltd. publishers, London, 1979. A Glace-escalier referenced on page 31 in the 1930 inventory of the Jean Désert boutique. - Brigitte Loye - Eileen Gray 1879-1976, architecture design - Éditions Analeph/ J. P. Viguier, 1983. A Glace-escalier referenced as number 83 on page 154 in the 1930 inventory of the Jean Désert boutique. - Peter Adam - Eileen Gray, Architect / Designer - Éditions H. N. Abrams, New York, 1987. A mirror-hairdresser cited on page 99-101 as part of the decoration for Madame Mathieu-Lévy's bedroom-boudoir in her apartment on the rue de Lota (no photograph), the work also referenced under number 180 in the catalog raisonné, page 390.

Estim. 80 000 - 120 000 EUR

Lot 43 - ALBERTO GIACOMETTI (1901-1966) - FORMER PAROUÏR BEGLARIAN COLLECTION (THEN BY DESCENT) Figure commonly known as Tête de femme, the model created around [1933-1934]. Floor lamp base. Proof in bronze with a rich brown patina shaded with antique green. Monogrammed and numbered AG077 on the stack by the Giacometti Committee on the back of the base towards the power supply. Height: 155cm Important notice: This work has been included in the artist's catalog raisonné and referenced in the Alberto Giacometti Database under number AGD 4618 by the Giacometti Foundation. A document from the Giacometti Foundation for the inclusion of this work in the artist's catalog raisonné and its referencing in the Alberto Giacometti Database will be given to the purchaser. Provenance: - Parouïr Beglarian. Businessman (Société des Pétroles d'Outre-mer; owner of a fleet specializing in the transport of hydrocarbons), major collector (and lender to institutions) of 20th-century art, particularly Surrealist works by Alberto Giacometti, Joan Miró and others. A close friend of Diego Giacometti, as Daniel Marchesseau points out in his book on the Swiss artist, and of Christian Bérard, as evidenced by a drawing dedicated by the artist (who died in 1949) with the words: À Parouïr de tout cœur. This eternally curious art enthusiast was interested in the work of Eduardo Chilida and Simon Hantaï (cf. Ader sale May 17, 2024) and, more generally, in most of the avant-garde pictorial movements of the 1950s to 1980s. Client of Galerie Maeght and Galerie Fournier, member of the Association pour la défense des vitraux de France founded by Bazaine, Manessier, Bertholle, Hartung, Soulages and others. - By descent. Bibliography: - Art et Décoration - N°3 of 1936. Identical model reproduced on page 98 in an article devoted to Jean-Michel Frank by Waldemar George. - Mobilier et Décoration - N°3, April 1953. Identical model reproduced on page 40. - Léopold Diego Sanchez - Jean-Michel Frank - Éditions du Regard, Paris, 1980. Identical model reproduced on pages 107 and 204. - Michel Butor - Diego Giacometti - Éditions Adrien Maeght, Paris, 1985. Identical model reproduced on page 125. - Daniel Marchesseau - Diego Giacometti - Éditions Hermann, Paris, 1986. Identical model reproduced on page 11. - François Baudot - Diego Giacometti - Éditions Assouline, Paris, 1998. Identical model reproduced on page 34. - Françoise Francisci - Diego Giacometti; catalog de l'œuvre, volume I - Éditions Éolia, Paris, 1986. Identical model reproduced in this work without pagination. - Christian Boutonnet and Rafael Ortiz - Diego Giacometti - Éditions de l'Amateur/Galerie L'Arc-en-Seine, Paris, 2003. Identical model reproduced on page 34. - Pierre-Emmanuel Martin-Vivier - Jean-Michel Frank - Éditions Norma, Paris, 2006. Identical models reproduced on pages 143, 198, 199 and 250.

Estim. 150 000 - 200 000 EUR

Lot 44 - ADOLPHE WANSART (1873-1954) L'Espagnol, also known as Buste du Professeur Ricardo Aznar Casanova, the model created in [1925], most probably a single bronze proof, exhibited in Berlin in 1933 and in Venice in 1940. Sculpted bust. Bronze proof with brown patina. Early edition cast. Signed A. WANSART on the left side of the terrace, marked Fonderie BATARDY Bruxelles on the back of the terrace. Height: 95cm - Length: 55cm - Depth: 35cm Provenance: - Art moderne - Sale Mes Binoche et Godeau, Hôtel Drouot, December 6, 1989. Our work presented under catalog number 49bis. - Collection K., Paris. Acquired at the previous sale. Public collections and related works: - Musées royaux des Beaux-Arts de Belgique, Brussels - Another proof of our model, in granite concrete, is kept in the collections of this institution under inventory number 4641. - Musée de peinture et de sculpture, Grenoble - Another proof of our model, smaller and in granite concrete, is kept in the collections of this institution under inventory number MG 2533, following a gift from the artist in 1928. Related exhibitions and works: - Hundert Jahre Belgischer Kunst - Preussischer Akademie der Künste, Berlin, January-February 1933. Our work, or another bronze print, exhibited at this event. - La Biennale di Venezia - XXIIe Esposizione internazionale d'arte - Venice, May-October 1940. Our work, or another bronze proof, exhibited at this event. Bibliography and related works: - Hundert Jahre Belgischer Kunst - Catalogue of the exhibition held at the Preussischer Akademie der Künste, Berlin (January - February 1933), published by the Preussischer Akademie der Künste, Berlin, 1933. Our work, or another bronze print, referenced under catalog no. 330, quoted on page 54. - Catalogo XXII Esposizione internazionale d'arte - Catalogue of the 22nd Venice Biennale, (May to October 1940) Our work, or another bronze print, referenced under catalog number 90, cited on page 235. - Jacques van Lennep - Catalogue de la sculpture (artistes nés entre 1750 et 1882): Justifications, corrections, additional information in Bulletin des Musées royaux des Beaux-Arts de Belgique - 41ème à 42ème année: 1992-1993/1-4 - Éditions des Musées royaux des Beaux-Arts de Belgique/Drukkerij Groeninghe, Bruxelles/Kortrijk, 1997. Our work quoted on page 237. A talented artist, Adolphe Wansart was undoubtedly one of the finest sculptors of his time. His considerable body of work, unjustly overlooked, testifies to the great modernity and constancy that define his entire body of work, dominated mainly by public statuary and sculpted portraits1. Initially drawn to painting, the Verviers artist began his apprenticeship at the Académie des Beaux-Arts in Liège, before moving on to Brussels, where he was a pupil of Jean Portaels (1818-1895). Inspired by the research of the Impressionists and frequenting the artists of Brabant Fauvism, his early works were unsurprisingly characterized by their simple lines and use of vibrant, vivid colors. In 1900, Wansart inexplicably decided to devote himself exclusively to sculpture, and from these pictorial explorations retained a certain sense of simplicity and synthesis which, coupled with his serious work and deep understanding of the role of sculpture, made him a unique artist in the history of modern Belgian sculpture. Learning sculpture from Charles van der Stappen (1843-1910) at the Académie des Beaux-Arts in Brussels, Adolphe Wansart quickly realized that this art form, rightly reputed to be thankless, would require rigor and patience, and would allow little spontaneity. Attracted by the monumental, he developed a certain understanding of the outdoors, imagining his works as dialogues with space and light. Working without a model, except for his portraits, his method undoubtedly explains the synthetic, constructed character of his sculptures, as if "[...] Wansart had never recreated his subject, but had subjected it to a recasting directed by his conscience as a pure artist "2. Wansart's sculptures were built in highly architectural volumes, with no superfluous detailing, in the manner of direct carving - a feature evident in the fact that most of his works were cast in bronze or granite concrete, rather than carved in stone.

Estim. 6 000 - 8 000 EUR

Lot 47 - FRANCIS JOURDAIN (1876-1958) Circles, dots and crescents on a trellis background, the model designed around [1920]. Rare and important covered pot; the base is circular, the lid has ears. Polychrome enameled ceramic proof; the lid with white and rust treated title decoration on a blue background, the base with blue enamel. Circa 1920. Two small chips on the inside of the lid (not visible with the pot closed), enamel chips on part (approx. 3cm) of the lid edge. Monogrammed F. J., numbered 80 and located France under the base. Height: 7.5cm - Length: 26.5cm Public collections: Musée d'Art et d'Histoire de Saint-Denis - A color variant is kept in the collections of this institution under inventory number 94.01.01. Exhibition: Francis Jourdain, un parcours moderne 1876-1958 - Travelling exhibition organized at the Musée Toulouse-Lautrec, Albi (March 25 - June 4, 2000) - at the Musée-bibliothèque Pierre André Benoît, Alès (June 24 - September 3) - at the Musée d'Art et d'Histoire, Saint-Denis (September 22 - December 18, 2000) and at the Musée d'Art et d'Industrie, Roubaix (January - April 2001). A color variant was presented at these events. Bibliography: Collectif - Francis Jourdain, un parcours moderne 1876-1958 - Catalogue of the traveling exhibition organized at the Musée Toulouse-Lautrec, Albi (March 25 - June 4, 2000) - at the Musée-bibliothèque Pierre André Benoît, Alès (June 24 - September 3) - at the Musée d'Art et d'Histoire, Saint-Denis (September 22 - December 18, 2000) and at the Musée d'Art et d'Industrie, Roubaix (January - April 2001), Éditions Somogy, Paris, 2000. One color variant reproduced on page 110.

Estim. 1 500 - 2 500 EUR

Lot 49 - ANNA QUINQUAUD (1890-1984) SCULPTOR & MANUFACTURE NATIONALE DE SÈVRES Les Jumeaux, the model designed around [1931], most probably presented at the Galerie Charpentier and then at the 1931 Exposition Coloniale, the enamelled stoneware edition of only 7 made between1932 and 1934. Sculpted group. Proof in shaded brown enameled stoneware. Signed A. QUINQUAUD on the terrace, bears the date stamp (not clearly legible, probably e for 1932) of the Manufacture Nationale de SÈVRES and the mention LR on the back of the terrace edge, bears the stylized letter B on the side of the terrace edge, presence of a lacunar Manufacture label on the reverse inside. Height: 25cm Terrace: 19.5 x 15cm Provenance: Private collection, Paris: Private collection, Paris. Historical background: Anna Quinquaud signed a contract with Manufacture Nationale de Sèvres on December 15, 1931 for the ceramic edition of the sculpture Les Jumeaux. Only 7 proofs were produced; 4 in 1932 and 3 in 1934. The mold was discontinued in 1942 under the direction of Guillaume Jeanneau, then director of the Manufacture. Six different sculptures by Anna Quinquaud were produced in ceramic by the Manufacture Nationale de Sèvres between the 1930s and 1940s, all in extremely limited editions. Public collections: - Manufacture Nationale de Sèvres - A plaster proof of the sculpture Les Jumeaux is kept in the collections of this institution. - Musée des Beaux-Arts, Brest - A plaster cast of the Les Jumeaux sculpture is held in the collections of this institution. Exhibitions: - Les foulahs du Fouta-Djallon, sculptures et dessins [by Mlle Anna Quinquaud] - Galerie Charpentier, Paris, 1931. A proof (plaster or bronze) of our sculpture model was probably presented at this event. - Exposition Coloniale, Paris, 1931 - A proof (plaster or bronze) of our sculpture model was probably presented at this event. Bibliography: Anne Doridou-Heim - Anna Quinquaud; sculptrice exploratrice - Somogy Éditions d'Art, Paris, 2011. Identical model reproduced on page 72, plaster proof reproduced on page 109, description of this sculpture model and its editions on page 109.

Estim. 6 000 - 8 000 EUR

Lot 52 - ÉMILE-JACQUES RUHLMANN (1879-1933) Levard (ref. 1001AR and 1104NR), second version following the model presented at the Salon d'Automne, Paris, 1913 Round salon table with one crotch shelf and non-original black lacquer. The four square-section legs support the crotch top; each features a six-fluted capital and accommodates, at its reception, a non-original silver-plated metal sabot (square ring). The round top with wide fluted edges. The two trays on the reverse in non-original black lacquered oak veneer. Circa 1920. Used condition, black lacquer and non-original sabots (square rings). Hot-stamped RUHLMANN and rectangular RUHLMANN stamp under the crotch plate. Height: 46cm - Diameter: 69cm Archives: Musée des Années 30; Boulogne-Billancourt - The blue (diazography on paper) of our coffee table model, without fluting on the foot capitals, preserved under inventory number 1990.1.166; the photograph of our coffee table model, with eight fluting on the foot capitals, preserved under inventory number 2002.18.18.214. Bibliography and related works: - Les Arts de la Maison - Autumn-Winter 1923. Identical or similar model featured on a color project reproduced on plate XIV. - Art et Décoration - June 1926. Identical or similar model featured on a color design reproduced on an off-text plate. - Léon Moussinac - Intérieurs - 1 - Éditions Albert Lévy, Paris, circa 1924. Variant reproduced on plate 30. - Jean Badovici - Harmonies intérieures by Ruhlmann - Éditions Albert Morancé, Paris, 1924. Projects in black & white or color featuring our coffee table model or variants reproduced on plates 3, 9, 14 and 24. - Art et Décoration - January 1914. A Levard round coffee table, the first version featured in a photograph of Émile-Jacques Ruhlmann's stand at the 1913 Salon d'Automne, reproduced on an hors-texte plate. - Collective - Ruhlmann un génie de l'Art déco - Éditions Musée des Années 30, Boulogne-Billancourt, Somogy, Paris, Montreal Museum of Fine Arts (Quebec), 2002. Identical or similar model featured on various color projects reproduced on pages 222, 223 and 251. - Emmanuel Bréon - Jacques-Émile Ruhlmann; les archives - Architecture d'intérieur - Éditions Flammarion, Paris, 2004. Identical or similar model featuring a color project reproduced on pages 113. - Florence Camard - Ruhlmann - Les Éditions du Regard, Paris 1983. Identical or similar model shown on a color project reproduced on page 104. - Florence Camard - Ruhlmann - Édtions Monelle Hayot, Saint-Rémy-en-l'Eau, 2009. Identical or similar model featured on various color projects reproduced on pages 7, 39 and 406, on an early photograph (Levard first version, Salon d'Automne 1913) reproduced on page 71, a variant reproduced on page 80.

Estim. 20 000 - 30 000 EUR

Lot 53 - FÉLICIEN CACAN (1880-1979) Macaques in the jungle, 1931 Very large decorative panel; in three parts assembled by rabbeting. Mixed media, including silver paint, gold paint and lacquer. Plywood supports on frame. Perforations around the edges to secure the panel. Signed and dated F. CACAN (19)31 top left of the left panel. Central panel: 305 x 150cm - Each side panel: 305 x 100cm Total dimensions: 305 x 350cm Provenance: Private collection, Paris: Private collection, Paris. Public collection and related works: Center national d'art et de culture Georges Pompidou, Paris - The décor of our work is to be compared with the drawing entitled Avant-projet, jeux d'or and two Esquisse[s] pour paravent respectively conserved in this institution under inventory numbers AM 4671 D (1), AM 4671 D (2) and AM 4671 D (3). Exhibitions and related works: - Exposition de peintures, études et dessins, de M. F. Cacan - Galerie Reitlinger, Paris, February-March 1914. The decor of our work can be compared with a study for a screen exhibited at this show. - Salon de la Société nationale des Beaux-Arts - Paris, April 30-June 30, 1922. The design of our work can be compared with the five-leaf folding screen exhibited in the Decorative Arts section of this show. Bibliography and related works: - La Renaissance politique, littéraire et artistique - N°du 28 février 1914. The decoration of our work to be compared with the "sketch of a screen showing monkeys chasing macaws with their plumage shining through the foliage of a sort of large gilded scroll", as described by Robert Hénard, page 588. - Catalog du Salon de la Société nationale des Beaux-Arts - Catalogue of the exhibition held in Paris from April 30 to June 30, 1922. The décor of our work can be compared with a five-leaf folding screen (illustrated in L'Art et les Artistes, N°27, May 1922), listed under catalog no. 1806, in the Decorative Arts section, page 252. - L'Art et les Artistes - N°27, May 1922. The decoration of our work can be compared with the fragment of a folding screen reproduced on page 315, in the article entitled L'art décoratif au Salon, relating to the eponymous section of the Salon de la Société nationale des Beaux-Arts of 1922. Félicien CACAN (1880-1979) Félicien Cacan, a painter whose name is unfairly overlooked, was in fact a multi-talented artist of great inventiveness. His works are diverse in subject, form and style - all marked by his imagination, ingenuity and poetry. Trained at the École des Beaux-Arts, then the École des Arts Décoratifs, Cacan handled both drawing and easel painting, illustrated famous books and created murals and decorative elements. His open-mindedness and great freedom explain the great variety that characterizes his work. A regular participant in the salons of the day, his name appears in many different sections, including painting and decorative arts. As a disciple and friend of Jacques-Émile Blanche (1861-1942), Félicien Cacan devoted himself primarily to the art of portraiture, landscapes and still lifes; although he retained from Blanche's art above all the use of light and the transmission of a certain feeling, the vector of their shared great modernity. Among his works are landscapes of Seine-Maritime - painted when he visited Blanche in Varengeville-sur-Mer - or Venice, nude studies, flower paintings and other vibrant portraits. But, as an insatiably curious artist, he also tried his hand at creating screens and decorative panels - which he adorned with the motif of abundant vegetation, made up of gold-and-silver foliage, and featuring monkeys and birds. The work presented here is no exception, featuring the lush decor frequently used by the artist for his decorative pieces. Our panel reveals the motif of tree branches, from which proliferate large leaves. Two monkeys are lounging on these branches, while higher up, another monkey is suspended, giving the impression of howling. In this decorative work, Félicien Cacan manages to conjure up in a few strokes the feeling of an opulent, teeming jungle, of nature taking its course and which we can almost hear.

Estim. 5 000 - 8 000 EUR

Lot 54 - PAUL DUPRÉ-LAFON (1900-1971) Exceptional modernist armchair, low version with gondola-shaped curved back, fully upholstered in fawn buffalo leather. L-shaped front glides and long curved rear glides in nickel-plated tubular metal. Circa 1930. Used condition, restorations, non-original leather upholstery, nickel plating on glides redone. Height: 49cm - Length: 81cm - Depth: 80cm Please note: We would like to thank Laure Tinel Dupré-Lafon, the artist's successor, for confirming the authenticity of this work. A certificate from the successor in title will be given to the buyer, at his request and expense. Provenance: - Dreyfus family. - Galerie Couvrat Desvergnes. Acquired from previous owner. - Private collection, Neuilly-sur-Seine. Acquired from Galerie Couvrat Desvergnes for the first exhibition devoted to Paul Dupré-Lafon, April 29-September 15, 1987. Bibliography: - Nouveaux Intérieurs; 3éme série - Éditions Charles Moreau, Paris, circa 1933. Our armchair or an identical model reproduced on plate 42. - Art et Industrie - May-June 1936. Our armchair or an identical model reproduced on page 10 in an article devoted entirely to the decorator. - L'Amour de l'Art - N°28-29-30 of 1948. Our armchair or an identical model reproduced on plate 34. - Thierry Couvrat Desvergnes - Paul Dupré-Lafon, décorateur des millionnaires - Les Éditions de l'Amateur, Paris, 1990. Our armchair reproduced on pages 135 and 137, our armchair or an identical model in archive photographs reproduced on pages 136, 167 and 188, an identical model in a decorator's project reproduced on page 6.

Estim. 50 000 - 80 000 EUR

Lot 55 - PAUL DUPRÉ-LAFON (1900-1971) Slight variation with lacquered wood sliding shutter of the model dated (on plan) March 1, 1929. Modernist quarter-circle desk in black lacquered wood. The right-hand side features a pedestal opening with three drawers. The curved left-hand side features visitor-side niches. The belt opens with a drawer. The top features trap doors: two long ones can be opened with a sliding flap, one with compartments, the other closed by a panel covered in fawn leather, and one square section, closed by a panel covered in fawn leather and housing a removable mahogany pencil holder. The desk pad and the inside of the trap doors are covered in fawn leather. Nickel-plated metal grips on the drawers and sliding flap. Circa 1930. Used condition, restorations, non-original black lacquer, non-original leather parts, nickel plating redone. Height: 79cm - Length: 137cm - Depth: 73cm Please note: We would like to thank Laure Tinel Dupré-Lafon, the artist's successor, for confirming the authenticity of this work. A certificate from the successor in title will be given to the buyer, at his request and expense. Provenance: - Art Nouveau - Art déco - Sale by Me Boisgirard, Hôtel Drouot, October 22, 1986. Our desk was presented at this sale under catalog no. 151. - Galerie Couvrat Desvergnes. Work acquired at the previous sale. - Private collection, Neuilly-sur-Seine. Acquired from Galerie Couvrat Desvergnes during the first exhibition devoted to Paul Dupré-Lafon, held from April 29 to September 15, 1987. Bibliography: Thierry Couvrat Desvergnes - Paul Dupré-Lafon, décorateur des millionnaires - Les Éditions de l'Amateur, Paris, 1990. Our desk reproduced on page 42, details reproduced on pages 44 and 45, an identical desk shown in archive photographs reproduced on pages 94 and 113, the variant with sliding metal shutter reproduced on page 97 on an archive photograph and its plan, dated March 1, 1929, reproduced on page 96. Paul DUPRÉ-LAFON (1900-1971) Paul Dupré-Lafon is an exceptional figure in twentieth-century decorative arts. Beginning his career in the 1920s, at the height of Art Deco euphoria, he succeeded in imposing a personal vision that balanced the trends of the time. Far from homogeneous, the artistic revival of the period was dominated by traditionalists anxious to follow in the footsteps of great French craftsmanship and pursue a quest for refinement, on the one hand, and by modernists in search of rationality and functionality, on the other. Armed with the knowledge of his contemporaries' diverse proposals, the decorator decided to draw the best from them, imagining interiors and furniture that met the criteria of innovation, ergonomics, elegance and luxury. This unique approach has resulted in rigorous, comfortable and refined creations, in which the preoccupations of both modernity and tradition can be seen. Working alone, refusing to have his work published or presented in the salons of the day, Paul Dupré-Lafon imagined his unique creations independently and autonomously. Conceived as elements of a whole, each piece is part of a global vision. Following an approach analogous to the idea of microcosm-macrocosm, each isolated work embodies the reflection of an overall conception of his interior fittings, driven by a fundamental search for dynamism and harmony. At Dupré-Lafon, nothing is incidental. Every design, down to the smallest detail, serves the useful and the beautiful. Balance, harmony, continuity, uniqueness: these are the hallmarks of his distinctive work. His creations reflect the importance of choosing raw materials and the apparent simplicity of lines and shapes. High-quality leathers, woods, lacquered woods, stones and metals alternate on his furniture pieces, which are modelled to the essential. An alternation of ruptures and continuities animates each element he creates. Colors and materials respond to each other, natural tones contrast with the black of lacquered woods, organic materials cohabit with metals, flat surfaces and natural facings follow one another. Far from serving a purely aesthetic purpose, these works are skilfully constructed. Their articulations, often metallic, visually punctuate their lines and enhance their practicality. The interplay of mechanisms reveals hidden functionalities and singularly develops the appearance of these pieces; together or on their own, they demonstrate a definite presence and great power stemming from the way they are put together.

Estim. 50 000 - 80 000 EUR

Lot 59 - PAUL DUPRÉ-LAFON (1900-1971) Modernist lounge armchair with adjustable backrest, complete with toe and chaise longue. The sides and bases of the armchair and footstool are in black lacquered wood. The seats of the armchair and footstool, the backrest and armrests of the armchair upholstered in fawn leather. Nickel-plated metal racks and tilt adjustment bar on the back of the seat. Circa 1930. Used condition, restorations, non-original leather upholstery, nickel plating redone. Armchair: Height: 66cm - Length: + or - 73cm - Depth: + or - 112cm Toe: Height: 37cm - Length: 54cm - Depth: 54cm Important note: We would like to thank Laure Tinel Dupré-Lafon, the artist's successor, for confirming the authenticity of this work. A certificate from the successor in title will be given to the buyer, at his request and expense. Provenance: - Art Nouveau - Art déco - Sale by Me Boisgirard, Hôtel Drouot, October 22, 1986. Our seat and its foot presented under number 152 of the catalog at this sale. - Galerie Couvrat Desvergnes. Work acquired at the previous sale. - Private collection, Neuilly-sur-Seine. Acquired from Galerie Couvrat Desvergnes during the first exhibition devoted to Paul Dupré-Lafon, April 29-September 15, 1987. Bibliography: Thierry Couvrat Desvergnes - Paul Dupré-Lafon, décorateur des millionnaires - Les Éditions de l'Amateur, Paris, 1990. Our seat reproduced on pages 68 and 69, an identical armchair (without the foot end) featured in an archive photograph reproduced on page 94.

Estim. 40 000 - 60 000 EUR

Lot 60 - PAUL DUPRÉ-LAFON (1900-1971) Games table in black lacquered wood. The 4 Gaineaux-type corner legs have rounded external faces and brass receptions. The square entablature, with its recessed bottom, accommodates a reversible top, covered in burgundy leather on one side and upholstered in felt on the other, framed by a brass profile. Each corner of the waistband is fitted with an arched glass-holder pull, perforated in the center. Circa 1930. Used condition, a crack to one corner on the belt, restorations, non-original black lacquer, non-original leather and felt. Height: 73.5cm - Length: 92cm - Width: 92cm Please note: We would like to thank Laure Tinel Dupré-Lafon, the artist's successor, for confirming the authenticity of this work. A certificate from the successor in title will be given to the buyer, at his request and expense. Provenance: - Art Nouveau - Art déco - Sale Mes Couturier, Nicolay et Daussy, Boisgirard, Hôtel Drouot, November 24, 1987. Our games table presented under catalog no. 182 at this sale. - Galerie Couvrat Desvergnes. Work acquired at the previous sale. - Private collection, Neuilly-sur-Seine. Acquired from Galerie Couvrat Desvergnes following the first exhibition devoted to Paul Dupré-Lafon, held from April 29 to September 15, 1987. Bibliography: - Ensembles Mobiliers; volume 6 - Éditions d'Art Charles Moreau, Paris, 1943-1945. An identical model is reproduced on plate 13. - Thierry Couvrat Desvergnes - Paul Dupré-Lafon, décorateur des millionnaires - Les Éditions de l'Amateur, Paris, 1990. Our table, or an identical model, reproduced on page 61, an identical model shown in archive photographs reproduced on pages 100, 122, 123 and 133; a detail reproduced on page 60.

Estim. 10 000 - 15 000 EUR

Lot 64 - PAUL DUPRÉ-LAFON (1900-1971) Pair of modernist Gondole armchairs entirely upholstered in fawn buffalo leather. Legs also upholstered in fawn leather. Circa 1930. Used condition, restorations, non-original leather upholstery, feet not originally upholstered in leather. Height: 61cm - Length: 72cm - Depth: 80cm Please note: We would like to thank Laure Tinel Dupré-Lafon, the artist's successor, for confirming the authenticity of this work. A certificate from the successor in title will be given to the buyer, at his request and expense. Provenance: - Art déco - Estate of Madame Gautrat Delompré and various - Sale Mes Ader, Picard et Tajan, Hôtel Drouot, June 2, 1986. Our pair of chairs presented under catalog number 130 at this sale. - Galerie Couvrat Desvergnes. Works acquired at the previous sale. - Private collection, Neuilly-sur-Seine. Works acquired from Galerie Couvrat Desvergnes during the first exhibition devoted to Paul Dupré-Lafon, organized from April 29 to September 15, 1987. Bibliography: - Art et Industrie - May-June 1936. An identical model, with variant feet, is reproduced on page 5 in an article devoted entirely to the decorator. - Thierry Couvrat Desvergnes - Paul Dupré-Lafon, décorateur des millionnaires - Les Éditions de l'Amateur, Paris, 1990. One of our chairs reproduced on page 87, an identical model shown in an archive photograph reproduced on page 166, an identical model shown in a decorator's project reproduced on page 9, variants with overhanging glides reproduced on pages 114.

Estim. 50 000 - 80 000 EUR

Lot 67 - JEAN-ÉMILE PUIFORCAT (1897-1945) (JEAN-ÉLISÉE PUIFORCAT, DIT) MODEL DESIGNER - MAISON PUIFORCAT PARIS GOLDSMITH Twelve-sided, the model created around [1923]. Rare silver tureen forming a table centerpiece. The faceted base rests on a stepped heel and is flanked by two articulated handles in carved aventurine; the silver attachments feature pleated motifs. The domed lid with fading edges; the fixed grip in carved aventurine; the silver attachments with pleated motifs. Early edition. The base is marked Jean E. PUIFORCAT - Paris on the reverse, and the base and lid bear the Master Goldsmith and title marks. Height: 22cm - Length: 40cm - Width: 26cm Gross weight: 4.916g Provenance: Private collection, Neuilly-sur-Seine: Private collection, Neuilly-sur-Seine. Bibliography: - Beaux-Arts - N°10 of June 1, 1923. Identical model with slight variations in grip attachments reproduced on page V. - Art et Décoration - June 1923. Model identical to the slight variations in grip attachments reproduced on page 184. - Gaston Quénioux - Les Arts Décoratifs Modernes - Éditions Larousse, Paris, 1925. Model identical to the slight variations in socket attachments reproduced on page 174. - Fernand David (preface) - L'Art décoratif français 1918-1925 - Éditions Albert Lévy, Paris, circa 1929. Identical model with slight variations in socket attachments reproduced on page 174. - Collectif - Jean Puiforcat; orfèvre sculpteur - Éditions Flammarion, Paris, 1951. Identical model with slight variations in socket attachments reproduced in this publication without pagination for the plates. - Françoise de Bonneville - Jean Puiforcat - Éditions du Regard, Paris, 1986. Model identical to the slight variations in grip attachment reproduced on page 86.

Estim. 20 000 - 30 000 EUR

Lot 84 - PAUL BELMONDO (1898-1982) La Baigneuse (au rocher), 1947-1955, a small-format version of our sculpture presented at the Salon des Tuileries in 1947, and a monumental stone version installed on a fountain in Orléans in 1955. Park sculpture. Stone. Signed BELMONDO on the back of the terrace. Height: 82cm Terrace: 32 x 42cm Important: A letter of thanks to Paul Belmondo from Mr. C. dated January 19, 1955, for the artist's transfer of this sculpture for his garden in Seine-et-Marne, will be given to the purchaser; the signatory's name crossed out. Please note: The sculptor created the figure of La Baigneuse au rocher around 1947; this small-format sculpture was presented at the Salon des Tuileries that year. In 1955, a large stone version was installed in the center of a pool at the corner of rue Royale and rue de Tabour in Orléans. Public collection and related work: Musée Paul Belmondo, musées de Boulogne-Billancourt - A small-format plaster print of our sculpture model is held in the collections of this institution under inventory number BEL2007.1.175. Exhibition and related work: XXIVe Salon des Tuileries - Musée des Beaux-Arts, Paris, 1947. A small-format plaster print of our sculpture model was presented on a chest of drawers by Maurice Jallot at this event. Bibliographyand related works: - Mobilier et Décoration - N°3 of June 1947. A small-format plaster print of our sculpture model reproduced on page 39, in an article devoted to the artist by Paul Sentenac. - Mobilier et Décoration - N°4, August 1947. A small-format plaster print of our sculpture model exhibited on a chest of drawers by Maurice Jallot, reproduced on page 77 in a photograph of the exhibition. - Mobilier et Décoration - N°7 of July 1948. A small-format plaster print of our sculpture model, reproduced twice on page 19. - Paul Belmondo, la sculpture sereine - Catalogue of the touring exhibition held between June 1997 and November 1999 in Albi, Marseille, Puteaux, Trevarez, Carpentras, La Roche-sur-Yon, Roubaix, Metz, Forest-Bruxelles, Troyes, Boulogne-Billancourt, Éditions Somogy, Paris, 1997. A small-format plaster print of our sculpture model is referenced under catalog no. 21 and quoted on page 109; its bronze version is referenced under no. 72 and reproduced on page 134; La Baigneuse de la fontaine d'Orléans is quoted on page 176.

Estim. 6 000 - 8 000 EUR