Ref.10292
Pair of cast iron Louis XVI style vase with theirs originals bases

These ornamental cast iron vases were made in the 20th century. Antique style, a fluted column is decorated with asparagus tips. Around it stands a garland of laurel leaves, which falls in bouquet. At the top of the column is the vase, a crater, also surrounded by a floral garland (here oak leaves). The vase is decorated with antique style medallions, female profile faces.

Ref.12680
Pair of wrought-iron outdoor side-tables, half-moon shape

Two side-tables in painted wrought-iron. Signed on the base : C. DETOUCHE and E. AZAN, PARIS.

Ref.12564
Carlo BUGATTI, Pair of Moorish style wall console sconces, circa 1888

This false pair of wall sconces is quintessentially characteristic of Carlo Bugatti’s art, designed by him around 1888. Carlo Bugatti (1856-1940) trained at the Brera Academy in Milan and later at the École des Beaux-Arts in Paris before turning his focus to furniture design. He exhibited his works at the Italian Exhibition at Earl’s Court in 1888, at the 1900 Paris Exhibition – where he won a silver medal – and in Turin in 1904, where he received an honorary diploma. Bugatti later moved to France and decided to focus on silverwork. These wall sconces perfectly embody his unique style. The geometric influence is evident in his use of circles, a recurring motif in his work. Hammered and perforated, the circular element supports a small square-topped cedarwood console adorned with triangular patterns and bone inlays inspired by Islamic art. The console is mounted on a stand resting on a base decorated with stylized rosettes. Suspended beneath is a small dome holding three chains, which are attached to a perforated copper bowl. The two sconces feature slight variations in their decorative details. This model was presented at the Italian Exhibition in London in 1888, where Carlo Bugatti was awarded an honorary diploma. On this occasion, a page featuring his works was published in the journal The Queen, The Lady’s Newspaper & Court Chronicle on July 7, 1888. The ensemble was described as “quaint”, meaning “picturesque”, a term that aptly reflects the variety of influences in Bugatti’s work. While he primarily drew inspiration from Moorish art, he also incorporated elements from other styles, eras, and cultures. The Musée d’Orsay in Paris holds a photograph of this same model, published between 1888 and 1898, likely for commercial purposes. Additionally, the Kunstgewerbemuseum in Berlin houses another version of this wall sconce. This pair of wall sconces is thus a concentrated expression of Carlo Bugatti’s decorative vocabulary, showcasing both his creativity and the importance of Moorish influences in his work, though he cultivated a distinct and unique style throughout his work.