Claude H. Sorbac : la collection d’une vie, René Lalique

13 décembre 2021

Claude H. Sorbac : la collection d’une vie, René Lalique

Sotheby’s is honoured to present the collection of a lifetime, assembled by Claude Henri Roger Sorbac, centered on the designs of René Lalique.

This collection explores the work of René Lalique, an Avant-garde artist designer who worked in a variety of fields: jewellery, goldsmithery, illustration, sculpture, and of course glassware. Lalique pioneered the use of innovative materials such as glass, tortoiseshell, ivory and horn, as well as metals such as aluminium, bronze and copper, combined with other rarer materials such as diamond, precious stones and gold. By combining these materials with unprecedented or reclaimed creative techniques, he brought an exquisite beauty to these objects.

Auction Highlights

Lot 12. René Lalique, Peigne ivoire, corne, émail et diamants, "Cattleya", vers 1903-1905 | Ivory, horn, enamel and diamond comb, 'Cattleya', circa 1903-1904. Estimate: 700,000 - 1,500,000 EUR. © Sotheby's 2021

Formant une fleur d'orchidée en ivoire sculpté, les feuilles ornées d'émail plique-à-jour et de diamants taille ancienne, surmontant un peigne en corne, dimensions 215 x 160 mm environ, signé René Lalique, poinçon de maître pour René Lalique, or 18K (750°/00), poids brut 101.25 g.

Designed as an orchid flower made of carved ivory, the leaves applied with plique-à-jour enamel and circular-cut diamonds, set on a horn comb, measuring approximately 215 x 160mm, signed René Lalique, maker's mark for René Lalique, 18 carat gold, gross weight 101.25 grams.

Provenance: René Lalique's family, by descent.

Purchased in 1976 in Paris, from an heir of René Lalique.

Literature: Cf. : Fondation Calouste Gulbenkian, Catalogue Musée Calouste Gulbenkian, Lisbon, 1991, pg. 333, for the illustration of a comb of similar design, cat. 801.

Cf. : Emmanuel Ducamp, Jeannine Falino et Stephen Harrison, Artistic Luxury - Fabergé Tiffany Lalique, Cleveland, 2008, pg. 146, for an illustration of an identical comb.

Cf. : Sigrid Barten, René Lalique - Schmuck und Objets d'art, Bonn, 1989, pg. 174, for an illustration of a comb of similar design, cat. 29.

Cf. : Vivienne Becker, The Jewellery of René Lalique, London, 1987, pg. 99, for an illustration of a comb of similar design.

Cf. : Musée du Luxembourg, René Lalique - Bijoux d'exception 1890-1912, Milan, 2007, pg. 176, for an illustration of a preparatory study for an identical comb.

Cf. : Yvonne Brunhammer, Les bijoux de Lalique, Paris, 1998, pg. 134-135, for an illustration of an identical comb.

Cf. : Sigrid Barten, René Lalique - Schmuck und Objets d'art, Bonn, 1989, pg. 175, for an illustration of an identical comb, cat. 30.3.

Exhibited: 1998-1999: New York, Cooper-Hewitt, National Design Museum, Smithsonian Institution Washington International Gallery, Smithsonian Insititution Dallas, Dallas Museum of Art

2000-2001: Yokohama, Sogo Museum of Art Tokyo, Metropolitan Teien Art Museum Kyoto, The National Museum of Art.

Lot 9. René Lalique, Peigne corne et diamants, "Hirondelles Amoureuses", vers 1906-1908 | Horn and diamond backcomb, 'Loving Swallows', circa 1906-1908. Estimate: 400,000 - 600,000 EUR. © Sotheby's 2021

Formant deux hirondelles en corne, l'une tenant dans son bec une branche rehaussée de diamants taille ancienne et 8/8, dimensions 218 x 167 mm environ, signée Lalique, poids brut 31.55 g, dans son écrin signé Lalique.

In the shape of two swallows, one holding a branch highlighted with circular- and single-cut diamonds, measuring approximately 218 x 167mm, signed Lalique, gross weight 31.55 grams; fitted case stamped Lalique.

Provenance: René Lalique's family, by descent.

Purchased in 1979 in Paris, from an heir of René Lalique.

Literature: Cf. : Musée des Arts Décoratifs, René Lalique, Paris, 1991, pg. 92-93, for an illustration of a drawing of an identical comb.

Cf. : Sigrid Barten, René Lalique - Schmuck und Objets d'art, Bonn, 1989, pg. 214-215, for an illustration of an identical comb, cat. 195 and a drawing, cat. 196 A.

Cf. : Emmanuel Duconningamp, Jeannine Falino and Stephen Harrison, Artistic Luxury - Fabergé Tiffany Lalique, Cleveland, 2008, pg. 138-139, for an illustration of an identical comb and a drawing.

Cf. : Henri Vever, French Jewelry of the Ninetenth Century, London, 2001, pg. 1287, for an illustration of an identical comb, mentioning this comb was presented during the 1908 Salon in Paris.

Cf. : Yvonne Brunhammer, Les bijoux de Lalique, Paris, 1998, pg. 130 and 131, for an illustration of a preparatory study and a photograph of an identical comb.

Exhibited: 1998-1999: New York, Cooper-Hewitt, National Design Museum, Smithsonian Institution

Washington International Gallery, Smithsonian Insititution

Dallas, Dallas Museum of Art

2000-2001: Yokohama, Sogo Museum of Art

Tokyo, Metropolitan Teien Art Museum

Kyoto, The National Museum of Art.

Lot 8. René Lalique, Clip émail et diamants, "Papillon de Nuit", vers 1900 | Enamel and diamond clip, 'Night Butterfly', circa 1900. Estimate: 150,000 - 300,000 EUR. © Sotheby's 2021

Formant un papillon de nuit aux ailes articulées, décoré d'émail cloisonné multicolore et rehaussé de diamants taille ancienne et rose, dimensions 96 x 50 mm environ, poinçons français pour l'or 18K (750°/00), poinçon de maître partiel pour René Lalique, poids brut 23.74 g, écrin signé Lalique.

In the shape of a night butterfly with articulated wings applied with multi-coloured cloisonné enamel and highlighted with circular-cut and rose diamonds, measuring approximately 96 x 50mm, French assay marks for 18 carat gold, partial maker's mark for René Lalique, gross weight 23.74 grams; fitted case stamped Lalique.

Provenance: Purchased from the Lalique Boutique, circa 1905.

Purchased from an heir of Jules Strauss in Paris, 1986.

Exhibited: 2000-2001: Yokohama, Sogo Museum of Art

Tokyo, Metropolitan Teien Art Museum

Kyoto, The National Museum of Modern Art.

Lot 17. René Lalique, Collier verre, émail et diamants, "Grenouilles", vers 1902-1903 | Glass, enamel and diamond necklace, 'Frogs', circa 1902-1903. Estimate: 300,000 - 600,000 EUR. © Sotheby's 2021

Provenance: René Lalique's family, by descent.

Purchased in Paris in 1974, from an heir of René Lalique.

Literature: Cf. : Yvonne Brunhammer, Les bijoux de Lalique, Paris, 1998, pg. 67, for an illustration of an identical necklace.

Cf. : Emmanuel Ducamp, Jeannine Falino and Stephen Harrison, Artistic Luxury - Fabergé Tiffany Lalique, Cleveland, 2008, pg. 49, for an illustration of an identical necklace.

Exhibited: 1998-1999: New York, Cooper-Hewitt, National Design Museum, Smithsonian Institution

Washington International Gallery, Smithsonian Institution

Dallas, Dallas Museum of Art

2000-2001: Yokohama, Sogo Museum of Art

Tokyo, Metropolitan Teien Art Museum

Kyoto, The National Museum of Modern Art.

Claude Henri Roger Sorbac was born in Paris in April 1921. His father Roger was a banker and collector. His mother Françoise was a decorator for a great post-war Parisian house. He therefore grew up surrounded by collections and art objects. His grandparents, Jules Strauss and Marie-Louise Kahn, aesthetes and art lovers, dedicated their lives to collecting paintings and objects. Their keen eye enabled them to distinguish the greatest works by Impressionist painters such as Renoir, Sisley and Degas. Soon enough they sold them and extended their collection to classical masters such as Largillierre and Tiepolo. This was the lineage of collectors that raised Claude.

The Strauss Collection.

He studied at HEC Paris Engineering school but had to leave because of his enrolment in Compulsory Work Service (STO). His father was arrested by the Nazis during the “roundup of notables” and was deported to Auschwitz. At the age of 22, Claude Henri Roger Sorbac joined the 1st Moroccan Spahi Regiment and participated in the Liberation of Paris as part of the 2nd Armored Division.

In 1945, once the war was over Claude Henri Roger Sorbac set out as an entrepreneur and founded several businesses. At that same time, he began collecting antiques. His network of friends in Europe and the United States led him to take an interest in Art Nouveau and its principal representatives, such as Gallé, Daum, Mucha, Majorelle, and Lalique.

Gradually his attention became more insightful on René Lalique, and he acquired a few admirable examples of the designer’s works by persistently attending flea markets and auctions in Argentina, Uruguay, Paraguay, Chile, Brazil and France… He thus upheld the family tradition of collecting which began with his maternal grandfather, Jules Strauss, and carried on by his father Roger.

Black and white photograph, Personal Collection of the Sorbac Family.

In 1985, he left Argentina. Driven by the desire to learn more about the field of art, which greatly interested him, he gathered a large amount of documentation and assimilated it in record time. He dedicated a great amount of his time to studying the work of René Lalique, identifying and collecting the designer’s works, and quickly rising in the ranks of Lalique experts and dealers. Indeed, Claude Henri Roger Sorbac was captivated by how the talents of René Lalique were reflected in his prolific creation, and his collection continued to grow.

In fact, he decided to sell some of his glassware to purchase more narrowly targeted works demonstrating Lalique’s expertise, his many sources of inspiration, and his collaboration with artists and creators such as Sarah Bernhardt and Edmond Rostand.

These works were featured in several great exhibitions throughout the world and are mentioned in a number of books and catalogues.

Black and white photograph, Personal Collection of the Sorbac Family.

Inspired by Nature

Flora and fauna have always been a source of inspiration in jewellery. From the end of the 19th century to the beginning of the 20th century, Art Nouveau inspired a more stylistic view in creators, and objects took on the form of flowers or animals.

René Lalique was raised in the countryside of Champagne, and always admired the fauna and flora of his homeland. In his studio on rue Thérèse, he constantly surrounded himself with an abundance of flowers, often sketching them, compiling an extremely extensive repertory upon which he drew for his designs.

The new contribution of Lalique was his use of the themes of fauna and flora seen through the prism of the symbolism used in the painting and literature of his time, such as Les Fleurs du mal by Baudelaire. Lalique’s flowers are both beautiful and dangerous, while snakes, butterflies and dragonflies hover around the female figures.

Lot 10. René Lalique, Collier verre, émail et diamants, "Libellules et Fougères", vers 1902-1904 | Glass, enamel and diamond necklace, 'Dragonflies and Ferns', circa 1902-1904. Estimate: 250,000 - 400,000 EUR. © Sotheby's 2021

Composé d'une série de motifs en verre moulé et vernissé rehaussés d'émail et de diamants taille ancienne et rose, longueur 385 mm environ, poinçons français pour l'or 18K (750°/00), poinçon de maître pour René Lalique, poids brut 200.15 g, vers 1902-1904, écrin signé Lalique, un motif supplémentaire.

Composed of a series of moulded and glazed glass motifs highlighted with enamel, circular-cut and rose diamonds, length approximately 385mm, French assay marks for 18 carat gold, maker's mark for René Lalique, gross weight 200.15 grams; circa 1902-1904, fitted case stamped Lalique, one extra motif.

Provenance: René Lalique's family, by descent.

Purchased in Paris in 1974, from an heir of the René Lalique's family.

Literature: Cf. : Yvonne Brunhammer, Les bijoux de Lalique, Paris, 1998, pg. 136, for an illustration of an identical necklace.

Cf. : Emmanuel Ducamp, Jeannine Falino and Stephen Harrison, Artistic Luxury - Fabergé Tiffany Lalique, Cleveland, 2008, pg. 48, for an illustration of an identical necklace.

Cf. : Sigrid Barten, René Lalique - Schmuck und Objets d'art, Bonn, 1989, pg. 247, for an illustration of a preparatory study, cat. 349.

1998-1999: New York, Cooper-Hewitt, National Design Museum, Smithsonian Institution

Washington International Gallery, Smithsonian Insititution

Dallas, Dallas Museum of Art

2000-2001: Yokohama, Sogo Museum of Art

Tokyo, Metropolitan Teien Art Museum

Kyoto, The National Museum of Art.

Lot 4. René Lalique, Bandeau verre, émail et diamants, "Pensées", vers 1904-1905 | Glass, enamel and diamond tiara, 'Pansies', circa 1904-1905. Estimate: 150,000 - 300,000 EUR. © Sotheby's 2021

Décoré de fleurs de pensée en verre moulé alternant avec des motifs végétaux en émail vert rehaussés de diamants taille ancienne, 8/8 et rose, longueur 315 mm environ, signé Lalique, poinçons français pour l'or 18K (750°/00) et poinçon de maître pour René Lalique, poids brut 84.65 g, vers 1904-1905, écrin signé Lalique.

The bandeau decorated with moulded glass pansy flowers motifs, green enamel foliage and set with circular-, single-cut and rose diamonds, length approximately 315mm, signed Lalique, French assay marks for 18 carat gold and maker's mark for René Lalique, gross weight 84.65 grams; circa 1904-1905, fitted case stamped Lalique.

Provenance: Purchased in Paris, before 1914 by Lady Kavanagh.

Purchased in Buenos Aires in 1974, from the Kavanagh family.

Literature: Cf. : Emmanuel Ducamp, Jeannine Falino and Stephen Harrison, Artistic Luxury - Fabergé Tiffany Lalique, Cleveland, 2008, pg. 69, for an illustration of an identical tiara.

Cf. : Vivienne Becker, The Jewellery of René Lalique, London, 1987, pg. 86, for an illustration of an identical tiara.

Exhibied: 2000-2001: Yokohama, Sogo Art Museum

Tokyo, Metropolitan Teien Art Museum

Kyoto, The National Museum of Modern Art.

Lot 14. René Lalique, Collier verre et perles d'eau douce, "Camélias", vers 1925-1930 | Glass and freshwater pearls, 'Camellias', circa 1925-1930. Estimate: 40,000 - 60,000 EUR. © Sotheby's 2021

Formé d'une série de plaques de verre moulé à décor de fleurs de camélia alternant avec des perles d'eau douce, longueur 340 mm environ, signé Lalique, poinçons français pour l'or 18K (750°/00), poinçon de maître pour René Lalique, poids brut 55.15 g, vers 1925-1930, écrin signé Lalique.

Designed as a series of moulded glass decorated with camellia flowers alternating with freshwater pearls, length approximately 340mm, signed Lalique, French assay marks for 18 carat gold, maker's mark for René Lalique, gross weight 55.15 grams; circa 1925-1930, fitted case stamped Lalique.

Provenance: René Lalique's family, by descent.

Purchased in Paris in 1960, by a Russian expatriate Lady.

Purchased in Buenos Aires in 1973, from the Voronov family.

Literature: Cf.: Félix Marcilhac, René Lalique, 1994, pg. 556, illustration G.

Exhibied: 2000-2001: Yokohama, Sogo Art Museum

Tokyo, Metropolitan Teien Art Museum

Kyoto, The National Museum of Modern Art.

Lalique and the Female Figure

Lalique was passionate about the female figure, both in his work and in his private life.

He left his first wife – Marie-Louise Lambert – for a woman named Augustine Ledru, known as Alice, with whom he fell hopelessly in love. Lalique created jewellery specifically for Alice, who became his muse and model. Moreover, he inserted representations of her bust and nude body into his creations.

Sarah Bernhardt was another muse of his. He designed diadems and jewellery sets for her personal use and for the characters that she interpreted in theatre. Her profile appears in a number of his jewellery pieces. Claude Henri Roger Sorbac studied this theme for many years, being himself a great admirer of the female figure.

Women in René Lalique’s creations reveal themselves gentle yet fatale, tragic yet entrancing; metamorphosing into female sphinxes or mermaids surrounded by ivy or insects, reflecting the work of Symbolist artists such as Gustave Moreau.

Lot 1. René Lalique, Collier-pendentif émail et or, "Visage de Femme et Glycine", vers 1898-1900 | Enamel and gold pendant-necklace, 'Woman's face and Wisteria', circa 1898-1900. Estimate: 100,000 - 200,000 EUR. © Sotheby's 2021

Le pendentif décoré d'un visage de femme entouré de glycines, rehaussé d'émail bleu et vert, le revers à décor identique en or ciselé, sur une chaîne en or rehaussée d'émail bleu, dimensions du pendentif 100 x 32 mm environ, longueur de la chaîne 560 mm environ, signé Lalique, poinçon français pour l'or 18K (750°/00), poids brut 43.76 g, vers 1898-1900, écrin signé Lalique.

The pendant depicting a woman's face in profile, within a surround of wisteria flowers applied with blue and green enamel, the reverse showing the same motif in chiselled gold, to a gold chain applied with blue enamel, pendant measuring approximately 100 x 32mm, chain length approximately 560mm, signed Lalique, French assay mark for 18 carat gold, gross weight 43.76 grams; circa 1898-1900, fitted case stamped Lalique.

Provenance: René Lalique's family, by descent.

Purchased in 1979 in Paris, from an heir of René Lalique.

Literature: Cf. : Katharine Morison McClinton, Lalique for collectors, London, 1975, pg. 20, for an illustration of a pendant of similar design.

Cf. : Sigrid Barten, René Lalique - Schmuck und Objets d'art, Bonn, 1989, pg. 305, for an illustration of a pendant of similar design, cat. 599.

Cf. : Sigrid Barten, René Lalique - Schmuck und Objets d'art, Bonn, 1989, pg. 274, for an illustration of a preparatory study, cat. 481.

Cf. : Yvonne Brunhammer, Les bijoux de Lalique, Paris, 1998, pg. 128-129, for an illustration of an identical pendant.

Exhibited: 1998-1999:New York, Cooper-Hewitt, National Design Museum, Smithsonian Institution

Washington International Gallery, Smithsonian Insititution

Dallas, Dallas Museum of Art

2000-2001: Yokohama, Sogo Museum of Art

Tokyo, Metropolitan Teien Art Museum

Kyoto, The National Museum of Art.

Lot 2. René Lalique, Collier-pendentif cristal et saphir, "Danseuse à l'écharpe", vers 1898-1900 | Crystal and sapphire pendant-necklace, 'Scarf Dancer', circa 1898-1900. Estimate: 15,000 - 30,000 EUR. © Sotheby's 2021

Le pendentif orné d'une intaille en cristal représentant une nymphe tenant une écharpe, surmontant un saphir taille ovale en serti griffe, dimensions du pendentif 65 x 24 mm environ, longueur de la chaîne 475 mm environ, poinçons français d'import pour le platine (950°/00) et l'or 18K (750°/00), poids brut 10.32 g, vers 1914, écrin signé Lalique

Accompagné d'un certificat gemmologique.

The pendant set with a crystal intaglio depicting a nymph holding a scarf, surmounting a claw-set oval sapphire, pendant measuring approximately 65 x 24mm, chain length approximately 475mm, French import assay marks for platinum and 18 carat gold, gross weight 10.32 grams; circa 1914, case stamped Lalique.

Accompanied by a gemmological report.

Literature: Cf. : Sigrid Barten, René Lalique - Schmuck und Objets d'art, Bonn, 1989, pg. 361, cat. 809, 809 A and 810 and pg. 363, cat. 816 and 817,2 for illustrations of pendant-necklaces of similar design.

Lot 3. René Lalique, Plaque "Ophélie", vers 1899-1900 | 'Ophelia' plaque, circa 1899-1900. Estimate: 4,000 - 8,000 EUR. © Sotheby's 2021

bronze patiné, 4 ⅜ x 9 ¼ x 0 ¾ in.

patinated bronze, 4 ⅜ x 9 ¼ x 0 ¾ in.

Provenance: Acquis auprès d'un ouvrier retraité, collaborateur de René Lalique par Claude H. Sorbac en 1981.

René Lalique 1860-1945, exhibition catalogue, Sogo Museum of Art, Yokohama, August, 26 - October, 29 2000; Tokyo Metropolitan Teien Art Museum, Tokyo, November, 11 2000 – January 31, 2001; National Museum of Modern Art, Kyoto, February 10 – April 15, 2001, reproduced p. 86, no. 114.

Literature: René Lalique 1860-1945, exhibition catalogue, Sogo Museum of Art, Yokohama, August, 26 - October, 29 2000; Tokyo Metropolitan Teien Art Museum, Tokyo, November, 11 2000 – January 31, 2001; National Museum of Modern Art, Kyoto, February 10 – April 15, 2001, reproduced p. 86, no. 114.

Exhibited: René Lalique 1860-1945, Sogo Museum of Art, Yokohama, August, 26 - October, 29 2000; Tokyo Metropolitan Teien Art Museum, Tokyo, November, 11 2000 – January 31, 2001; National Museum of Modern Art, Kyoto, February 10 – April 15, 2001.

Note: This plaque is representing Ophelia, the protagonist of Hamlet by Shakespeare, laying under a willow branch. The piece evokes Ophelia's tragic death by drowning, considered one of the most poetic in the history of literature. A brooch representing Ophelia is part of the Calouste Gulbenkian Museum, Lisbon collections.

Lot 33. René Lalique, Deux broches or et argent, "Victoires Ailées", vers 1899-1900 | Two gold and silver brooches, 'Winged Victories', circa 1899-1900. Estimate: 3,000 - 4,000 EUR. © Sotheby's 2021

Chacune de forme ronde, ornée d'une Victoire ailée de profil, diamètre 31 mm environ, signées Lalique, poinçons français pour l'argent (800°/00) et l'or 18K (750°/00), poinçons de maître pour René Lalique, poids brut 13.34 g (or) et 14.72 g (argent), écrin signé Lalique.

Each of circular design, depicting a winged Victory in profile, diameter approximately 31mm, signed Lalique, French assay mark for silver and 18 carat gold, maker's marks for René Lalique, gross weight 13.34 grams (gold) and 14.72 grams (silver), fitted case stamped Lalique.

Lalique and Symbolism

The Symbolist movement appeared in European art in the late 19th century as a reaction to Naturalism. Attention turned from representing the world as it is to an expression through the prism of ideas or symbols. These artists summon viewers to decode the messages expressed through their works according to the emotions that they feel when they see the piece. René Lalique applied this approach to jewellery design. His goal was to create unprecedented pieces in terms of jewellery design. To achieve this, he used new materials, which he mingled with innovative techniques and others inspired by the Middle Ages and the Renaissance.

Unlike the jewellery of other designers, René Lalique’s designs are not just ornaments. They are structured around an artistic idea that expresses sensations or feelings. They are also inspired by Japonism and its flamboyant symbols, such as bats, dragons, cockerels and snakes; and motifs from his own creative repertory, mingled with romantic, symbolic and mythological accents.