Pendant in the shape of a cross, situated at the meeting point between two models. Indeed, its shape clearly refers to the “Marie-Antoinette” cross, which was nonetheless surmounted and supported on the chain by a bow, an element absent on our cross. These crosses are characterised at their centre by a rounded form, created by the arrangement of the stones in relation to one another.
A set of six wooden chairs entirely clad in repoussé silver leaf, featuring interlacing patterns, scrolling foliage, and floral motifs. The backrest is adorned at its ends with two rams’ heads in relief, lending the set a highly decorative character.
This cast iron garden bench reflects the Victorian taste of the second half of the19th century. Its structure features naturalistic decoration with scrolling foliage, vine leaves and other botanical motifs. The backrest and seat are entirely piercedwith an openwork design. The whole rests on two finely worked legs, connected by metal reinforcing elements.
Pair of “bistro” side tables in black lacquered cast iron, with stone tops. They rest on a pedestal base terminating in three claw feet, bearing the inscription “Paris.”
Letter Holder
Vienna bronze letter holder depicting an Irish Setter resting on a base simulating a patch of green grass.
This desk accessory operates by means of a spring mechanism which, when pressure is applied to the dog’s neck, opens its mouth, allowing papers, letters, business cards, and other small documents to be inserted.
Sculpture depicting an English bulldog, made in brown-black patinated terracotta, shown sitting on all four legs with its head slightly turned.
This carved wooden sculpture in the round depicts a male figure whose nudity is partially concealed by a red drapery tied around his waist. The proportions and treatment of the face are consistent with the stereotypical European representation of the “Moor” during the 17th and 18th centuries.
Although the hypothesis of an interior decorative element seems unlikely, the possibility that this sculpture served as a sign appears more plausible.
Several material elements support this assumption. Firstly, the sculpture displays a highly distinctive patina that would have been difficult to develop if it had been kept indoors. Furthermore, the presence on the reverse of a wrought-iron mounting system secured with substantial rivets suggests that the sculpture required a robust means of attachment capable of withstanding exposure to the elements.
In Germany, certain historic pharmacies known as Mohren-Apotheke still feature this type of sculpture on their façades. Historically, during the Renaissance, this designation was considered highly prestigious and complimentary, as it referred to the medicinal expertise of Moorish populations. The name thus conveyed the idea that the pharmacy imported exotic ingredients and medicinal plants from distant lands, considered essential to the preparation of the most effective remedies.
A set of three animal sculptures depicting seated lions/dogs on a rectangular base with chamfered corners. The treatment of the fur is executed using the “filé paste” technique, creating an abundant relief of curling strands. The decoration is characterised by a white glaze, enhanced with touches of blue and green.
A highly realistic terracotta dog, enhanced by its polychromy, glass eyes, collar, and natural pose. The particularly refined modelling delicately captures the animal’s volumes and characteristic features.
Pair of barbotine vases finely decorated with branches and adorned with flowers in relief of various forms. A figure, seemingly enclosed within each vase, attempts to emerge with the help of his companion. The entire surface is covered with ceramic vermicelli, giving the vases a matte, irregular, and highly textured appearance. The upper section of each vase terminates in a wide, flared opening, completing the overall composition.
These two pieces do not appear to belong to the production of a large-scale manufactory, but rather may be the work of an independent artisan. It was indeed common for such craftsmen to sign their works with an abbreviated first name, followed by a surname and, occasionally, the name of the town where the piece was produced, thereby associating the work with a specific locality.
Through their naturalistic treatment, profuse decoration, and use of raised barbotine, these pieces also appear to draw inspiration from English productions from the Staffordshire region, particularly known for their modeled decoration and their appreciation of richly textured surfaces.