This glass bottle contains a composition made primarily from various materials, including wax and cut paper. This type of object is known as a “Passion bottle” because it contains the Instruments of the Passion of Christ, also known as the Arma Christi. Among them are the cross, the nails, the rooster, the ladder, the column of the Flagellation, and others.
This work belongs to a tradition of folk art in which boatmen and bargemen carefully crafted these votive objects (ex-votos) as a gesture of thanksgiving for a fulfilled vow, often related to the hazards and uncertainties of navigation. These objects were frequently placed in small shrines located in chapels, homes, or even in the cabins of boatmen.
Portrait of a woman from the 18th century wearing a “déshabillé,” a term referring to a softer and lighter garment, often adorned with lace. She wears a lace choker, a type of jewellery that has existed throughout history but experienced a notable revival in popularity during this century. Her powdered hair is adorned with small flowers, while a pretty blue bow decorates her sleeve.
Charming openwork cross, crafted in gold and outlined around its perimeter with a fine black enamel border. It is set with eight rose-cut diamonds, including one on the bail, designed in the form of a bow. This detail of the bail is particularly reminiscent of the so-called “Louis XVI” cross. Each arm terminates in a fleuronné motif.
Highly sought after by enthusiasts of antiques and charming décor, this style of lighting fits perfectly into Hollywood Regency, country house, or classic bohemian interiors.
Italy, late 19th century.
This type of porcelain work, known as pastillage, was highly appreciated in the 18th century. Initially mastered by the German Meissen manufactory, it was subsequently challenged in France by the Vincennes manufactory. The latter obtained a monopoly on the production of porcelain flowers during the reign of Louis XV, much to the delight of Madame de Pompadour. Gradually, and particularly under Louis XVI, this fashion declined. It was not until the Second Empire that these everlasting bouquets once again came to be appreciated and admired.
Pair of lamps depicting two porcelain birds, each distinguished by its own plumage: one yellow, the other white and brown. Each bird is perched on a tree branch and surrounded by delicate porcelain flowers. The lamps are mounted on gilt and patinated brass bases in the Louis XV style, lending the pair an elegant decorative character.
This bonbonnière is decorated on its glass section with engraved flowers. The gilt-bronze mount raises the bowl on four feet and features a naturalistic design inspired by bamboo. On the inner part of the mount, the impressed mark “MAISON ALPH. GIROUX PARIS” can be found.
This type of regional jewel is known as the “Heart of Mary” (Vlaamse Hart), which translates as “Flemish Heart.” Originating in Antwerp, its production began in the late eighteenth century. There are two variations of this jewel: one surmounted by a crown of flowers, and the other adorned with a quiver of arrows and a flaming torch. Our pendant belongs to the latter category and was traditionally given as a token of love. Its silver interlaced decoration is set with small rose-cut diamonds, as well as a larger diamond at the center of the pendant.
These meticulous compositions—characteristic of the paper-cut art and relief pictures of the Louis XVI era—feature figures dressed in real fabrics (silk, muslin, ribbons) finely fashioned in three dimensions. They are set against a landscape background painted in gouache and enhanced with naturalistic relief elements such as moss, small twigs, and dried flowers.
France, 18th century