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
A magnificent kidney-shaped table from the Napoléon III period, perfectly embodying the Louis XV tradition through the elegance of its lines and the refinement of its craftsmanship. The ingenuity of Maison Gouffé lies in the practicality of this charming piece of furniture. The central section, fitted with a leather writing surface, is hinged and can be used either as a writing desk or a reading stand. On either side, two small compartments provide storage space, one of which contains a complete writing set.
Charming gold cross decorated with interlacing oak leaves in relief and set with six small pearls.
The work is distinguished by its craftsmanship, notably the use of Panneggio Bagnato, or “wet draping.” This technique, attributed to the great Phidias, consists of sculpting the garment as if it had been soaked in water. Venus’s delicate tunic then becomes a second skin: it flows over the body, embracing every curve and revealing its anatomical form with a sensuality of rare elegance. The garment no longer conceals, but magnifies, creating a play of light and shadow between the prominent folds and the softness of the suggested flesh.
The identification of Joan of Arc, known as the “Maid of Orléans,” is first supported by the Latin inscription: “Virago Aurelianensis, profligatis debellatisque Anglis, ad sexus sui miraculum ovans.” This translates literally as: “The warrior woman of Orléans, having routed and defeated the English, triumphing to the astonishment of her own sex.”
This portrait is firmly rooted in the equestrian portrait tradition, whose conventions date back to classical antiquity, notably with the famous statue of Marcus Aurelius on the Capitoline Hill. By choosing to depict Kléber on a rearing horse or at a measured pace, the painter reinterprets this allegory of the “war leader” capable of taming not only his mount but also human passions and the tumult of battle.
Double-sided folding screen composed of six lacquered and finely carved panels, inspired by the productions of the Qing dynasty and the Coromandel style.
This parrot design, originally life-size, is attributed to the renowned sculptor Johann Joachim Kändler, around 1745-1750, who captured birds perched on tree trunks with striking realism.
Meissen
Late 18th century