Large Saint-Lô cross accompanied by its neck chain. This jewel was mainly worn in Lower Normandy. Very widespread in the 18th century, this cross continued to be produced in the 19th century. Craftsmen of the second half of the 19th century, keen to reproduce models similar to those of the previous century, painted a small black dot on the back of the stones to give them an older appearance. This detail therefore allows us to date our cross to the second half of the 19th century.
The Holy Spirit motif depicts a bird of paradise whose beak is invariably turned downward. The presence of a bow at the top of the jewel is also characteristic of Norman production. Our pendant is adorned with rhinestones of varying sizes; the largest are set on the bird’s wings, body, and at the center of the bow.
This pendant is known by several names: the “Provençal Jeannette,” the “Arlesian Jeannette,” or, more simply, the “devotional cross.” When the size of the diamonds gradually decreases as they extend outward from the center, this generally indicates an early example. More recent productions are typically characterized by diamonds of uniform size. The jewel is suspended from a bail concealed behind a diamond.
The iconography leaves no doubt as to the symbolic function of the work: the young woman firmly holds a large blank canvas in her hand, while her left hand supports a painter’s palette and brushes. Her face, with its delicate features, is imbued with a gentle melancholy, as if searching for inspiration.
France
Early 19th century
Large-scale folding screen depicting hunters and their dog in the midst of action. The scene unfolds within a lush green landscape, with a château visible on the horizon. The four central panels are framed by arabesque and scrolling motifs set against a blue background. The reverse, more understated in style, features turquoise chamfered rectangles.
Painted polychrome papier-mâché marotte with applied printed paper, depicting a female figure with black hair and a scalloped bodice.
Marked on the base: PAINDEBLED, as well as “Cork padding, patented SCDG”, Paris.
Marottes appeared in the second half of the 18th century and were used as supports for headpieces when they were not being worn. As the marotte was shaped like a real head, it helped keep the headdress properly pressed and in shape; milliners and bonnet ironers therefore frequently used marottes in their work.
Apollo, a garden sculpture in reconstituted stone. The graceful nude male figure of the young god leans gently against a tree trunk, with his right hand resting on his head. This sculpture is a variation of the Lycian Apollo, also known as the Apollo of Florence or the Apollino, a work by the celebrated Greek sculptor Praxiteles (4th century BC), now housed in the Uffizi Gallery in Florence.
Green iron chandelier with eight light arms, composed of flowers, various foliage, and numerous pendants. The upper part of the chandelier simulates a knotted ribbon from which garlands of glass bead scrolls hang.
The vase’s body displays a rich naturalistic decoration in polychrome enamels, depicting birds of paradise (Fohang) among blooming peonies and flowering branches, traditional symbols of prosperity and beauty. The flared neck, adorned with small stylized handles in relief, is highlighted by geometric friezes in turquoise and pink tones that harmoniously frame the central scene.
China
Late 19th Century