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.
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.
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.
Elegant French fashion doll dating from the second half of the 19th century, featuring a polychrome papier-mâché head with finely hand-painted facial details. Its expressive face is enhanced by large fixed eyes and an open mouth revealing two small teeth, a characteristic feature of high-quality French dolls of the period. The body is fully leather-covered with articulated limbs, allowing for remarkable flexibility and posing. Offered without clothing, this doll is a fine collector’s piece. It recalls the productions of the great French doll makers of the late 19th century, although no firm attribution can be made in the absence of a maker’s mark.
This delicate and charming wooden jewelry box features a graceful, canted-cornered shape typical of the Napoleon III style. It is distinguished by its rich Asian-inspired decoration, reflecting the Second Empire’s fascination with chinoiserie and Far Eastern lacquer.
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.
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.
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.
