This object was associated with the funerary traditions of the clergy and nobility and was intended to hold the heart and other viscera, which were subsequently buried in churches or chapels. If such boxes were later repurposed towards the end of the 18th century, this was precisely due to the evolution of these funerary practices. This may explain why they are sometimes referred to as “tobacco boxes” or “pigment boxes.”
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.
A lacquer tray, fitted with a gilt-bronze mount, supports the various elements, which are secured to it by small rivets. Among them is a Chinese dignitary figure in famille verte porcelain, Qing dynasty, Kangxi period (1662–1722). Two porcelain bird whistles, in the form of reclining boys with their heads raised and supported by their hands, are also present. The details of their floral robes are highlighted in red, blue, green and black enamels. Circa 1700, Japan, Arita kilns.
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.”
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 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 18th-century painting depicting a lively view of a Mediterranean port—a classic maritime scene in the style of Joseph Vernet.
France, late 18th century
This Italian chandelier dates to circa 1930 and is made of gilt sheet metal and rock crystal. Its Neoclassical forms are characterized in particular by its drapery motifs and symmetrical composition. Across the chandelier’s three tiers, the various pendants are arranged in different configurations, with some arranged concentrically to form floral motifs.