This charming painted terracotta snuffbox, suitable for a counter or parlor, depicts a portly and boisterous male figure, firmly rooted in the tradition of satirical and popular figures of the late 19th century.
This magnificent three-quarter portrait captures the ideal of the “gentleman” and the nobility of the sword at the end of Louis XIV’s reign. The young aristocrat displays the ceremonial codes of the Court: powdered complexion, cheeks enhanced with rouge, and an imposing “in-folio” wig.
Small pendant in the form of a Provençal “butterfly cross,” composed of four rhinestones and a movable drop-shaped element surrounded by silver scrolling foliage.
The smiling faces and finely carved hair are rendered with great care and attention to detail. The sculptures are presented on their respective bases.
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.