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.
An elegant and intimate composition depicting a molded white marble mantelpiece. At the center stands a terracotta sculpture of a young woman in profile, her silhouette reflected in the large mirror in the background. Arranged around the bust are a bronze candlestick adorned with crystal pendants and fitted with pleated pink silk lampshades, an antique leather-bound book, two framed miniatures, and a porcelain snuffbox.
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.
A large, stately cage-style chandelier from late 18th-century Italy. Built around a central shaft of carved, gold-leafed wood retaining its original patina, the chandelier is distinguished by the refinement of its wrought iron structure. Sinuous metal arms with a patinated finish sweep upward in elegant scrolls, creating an airy, highly decorative cage form.
An important glazed earthenware (majolica) dinner service featuring scalloped edges. Each piece is hand-painted with a design of blue pleated ribbons—accented with small dots—alternating with delicate garlands of yellow flowers and green foliage against a creamy-white background.
This delicate Baroque cabinet painting stands firmly within the tradition of the 17th-century Bolognese School, reflecting the immense influence of its leading figure, Guido Reni. The work embodies the master’s aesthetic ideals: the Virgin’s face with its perfect oval shape and alabaster complexion, her gently lowered eyelids conveying a sense of melancholy, and her hair swept up and held simply by a diaphanous veil.
Charming polychrome glazed terracotta sculpture depicting a dog seated on an elegant blue cushion adorned with a gilt trim. The sculpture displays a remarkable attention to realism, as evidenced by the finely modelled fur and the particularly lifelike expression of the animal. The flowing treatment of the coat lends the composition a natural sense of movement and vitality. The dog wears a delicate yellow collar, emphasizing its domestic character while adding a subtle touch of colour to this decorative piece.