Paul Sormani 1817 - 1887 A PAIR OF LOUIS XVI STYLE GILT BRONZE MOUNTED, INLAID MAHOGANY, QUARTER VENEER FLAME FIGURED MAHOGANY AND EBONY COMMODES AFTER THE CELEBRATED MODEL BY JEAN-FRANCOIS LELEU Paris, circa 1875

both surmounted by a thick moulded fleur de pêcher marble top, fitted with a frieze drawer above two long drawers.

Overall in their original untouched condition with the usual minor scratches, dents and nicks to veneers and carcass consistent with age and use. Tarnishing to gilt-bronze in places. Both marble tops have been broken and restored. One was broken vertically into two pieces; the other was broken into 12 pieces. One commode with visible and extensive water damage to the front three drawers, the side slightly so. There is a 3/4 inch veneer loss on the ebony banding on the top right corner of the lowest drawer. The same commode is missing the brass filler to its reeded toupi legs in 13 places. The second commode has less extensive water damage to the bottom drawer.
In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective qualified opinion.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING CONDITION OF A LOT, ALL LOTS ARE OFFERED AND SOLD "AS IS" IN ACCORDANCE WITH THE CONDITIONS OF SALE PRINTED IN THE CATALOGUE.

Though unsigned, this pair of commodes was clearly produced by the Sormani dynasty, as evidenced by their design, execution and attention to detail.  The use of fleur de pêcher marble is typical for Sormani models of this form, as is the large ebony banding, use of quarter veneer, copper inlay banding to the reeded legs and the gilt bronze moulding that frames the horizontal apron.  (Camille Mestdagh, L'Ameublement d'art Fançais 1850-1900, Paris, 2010, p. 299 and Pierre Lecoules, Art Mobilier Parisien 1850-1900, p. 67)