Ref.15439
Four "Expression" Busts in Terracotta, 19th Century

H. 64 cm/25.2’’; W. 52 cm/20.47’’; D. 30 cm /11.81’’ H. 64 cm/25.2’’; W. 57 cm/22.44’’; D. 42 cm/16.54’’ H. 63 cm/24.8’’; W. 45 cm/17.72’’; D. 27 cm/10.63’’ H. 58 cm/22.83’’; W. 55 cm/21.65’’; D. 26 cm/10.24’’ These four expression busts in terracotta, crafted by an anonymous hand, date from the 19th century. The practice of creating expressive heads, tied to the development of psychology from the 18th century onwards, found a particular resonance in sculpture. These four female busts are a testament to this: the extreme expressiveness of the faces pursues a quest for absolute truth. One of the female figures, with her head lowered, furrows her brow and curls her lips, revealing her teeth in a sign of disgust; another, smiling, appears more engaging; a third, with a rather disdainful expression, seems about to speak, while a fourth looks surprised and somewhat fearful. The expressiveness of the faces is accompanied by a varied treatment of the hair and adornments. The busts end below the chest, which is sometimes partially exposed, adding a certain sensuality to the models. Terracotta is a particularly malleable medium before firing, often used for sketches or first drafts of a work. These busts seem to have been intended for molding and therefore belong to this category. Regardless, the sculptor’s hand left a true mark on them. The artist also chose to highlight them by painting a marble-like design on the pedestals, turning each bust into a stand-alone work of art. The extreme emotions depicted in these busts, particularly the smiling woman, recall Jean-Baptiste Carpeaux’s Bacchante with Roses (1873, terracotta, Toulouse, Musée des Augustins). The model for this work is known; it was Mademoiselle Miette, an actress at the Palais-Royal. She is shown in a state of ecstasy: her head is thrown back, a broad smile on her lips, her rich hair flowing over her shoulders and intertwined with roses, which again contributes to the expressiveness of the whole, as does her uncovered and sensual chest. This bust also confirms that terracotta is particularly suited to conveying emotions and providing precision in modeling for the sculptor.

Ref.15432
Twenty-Four-Arm Chandelier Based on Château de Versailles Chandeliers, 20th century

This cage chandelier with twenty-four arms of light was made in the second half of the 20th century on a model identical to certain chandeliers at the Château de Versailles. The top of the chandelier forms a flared bowl in gilded metal reflecting the light; it is accompanied by rods embellished with rosettes and poly-lobed crystals of various shapes. The top of the cage is formed by waves of gilded metal ending in Art Deco-style pendants or crystal balusters topped with daggers. The body of the chandelier tapers before unfolding fully. The curves and counter-curves are always punctuated by the presence of crystals: balusters topped with daggers, Art Deco pendants and wave-shaped arms of light whose ends are adorned with basins in the shape of flower corollas supporting dummy candles. A ball carved with ovals and a rosette (below) hangs from the lower end of the chandelier. The Art Deco pendants are electrified. This chandelier was executed after a model made repeatedly in the Château de Versailles, which can be found in the Salon de Mars and in the antechamber of the Grand Couvert in the Grands Appartements for example. These were executed by Baguès in 1863-1864, as a copy of a chandelier in the collections. Despite minor differences, the mounts of these chandeliers are identical, and the ornamentation is very similar (with the exception of the Art Deco decorations).

Ref.14153
Sarreguemines earthenware factory, Vase with Lotus Flower Decoration