Le Retour des Champs ‘Return from the Harvest’ Carrara Marble, Signed and Dated

This French Le Tallec parcel-gilt blue-celeste ground porcelain soupière with lid and tray from the mid-20th century has an oval shape and is in the Rococo style. The piece is in the Sèvres style with an oval bombe body centring sides of Rocaille molded details above shaped cartouches. The piece is signed and dated underneath the soupière with a dating system adopted by Le Tallec after 1941 in underglaze blue with a gilded stamp. A letter code in the upper part of the atelier signature “LT” indicates the date of production. This piece is signed “Z” for the year 1953. The initials of the piece’s painter in the lower part, “F N” indicate the artist. Above handwritten in underglaze red “Dessiné et...

Meissen, hard-paste porcelain, circa 1738-1740. The Artist The Meissen manufactory near the city of Dresden was founded by Augustus II (1670-1733), King of Poland and Electoral of Saxony, in 1710. It was the first factory in Europe to succeed in making white hard-paste porcelain. The early years of the Meissen production were focused on creating copies of Chinese porcelain. It was only when Kaendler began to work at Meissen in 1731 that the manufactory would break free from the influence of Asia and produce porcelain of true European character. The Painting A sculptor by training, Kaendler took over the direction of the manufactory in 1733. He is considered the key figure in the development of Meissen and the individual behind the transformation of the factory’s porcelain during the 18th century. Kaendler demonstrated his artistic ability by creating a variety of porcelain groups including the Italian Commedia dell’Arte, Pastoral and Crinoline groups, and Cris de Paris, which were met with widespread acclaim and made Meissen famous throughout all of Europe. Soon these porcelain figures would be used extensively alongside vases and other ornaments to decorate interiors. Provenance The themes of fête galante, pastoral idylls and masquerade themes, created by Jean-Antoine Watteau (1684-1721), and then developed further by Francois Boucher (1703-1770) and Jean-Honoré Fragonard (1732-1806), depicting amorous scenes with dancers, women and shepherds engaged in frivolous pursuits, spread all over Europe during the first half of the 18th century. This is due to the French engraver Gabriel Huquier (1695-1747), who dedicated himself to images and engravings after Francois Boucher and Juste-Aurele Meissonnier (1695-1750), who fostered the concept of Rococo style, that brought about the new trend in decorative arts. In 1738, Kaendler introduced one of his figures in pastoral costume with the Handkuss (Hand-kiss) scene under a tree. For the shepherd lovers’ scene, the German sculptor drew his inspiration from Boucher and Watteau. Since the 1730s, the Meissen manufactory has been providing Watteau’s engravings...

French, dinner service lavender color, Limoges, First half of the 20th Century The dinner set include - 1 Large round covered soup bowl D. 30 x H. 36 cm - 1 Round covered soup bowl D. 26 x H. 30 cm - 2 Extra large round plate D. 40 cm - 2 Large round plate D. 36 cm - 1 Round plate D. 32 cm - 2 Large oblong plate...

Porcelain figure group playing the Blind man's buff Beautifully crafted artwork, hand painted 19th century, French. Dimensions: 50 x 30 x 30 cm (approximate).

Carrara marble sculpture signed A. Batacchi, Italy, Florence, late 19th century.

Fine Italian Carrara marble of a Nymph. The figure stood upon a rocky plinth partially nude with a draped robe seen pouring water from a large urn as she looks on. The beautiful carv...

With three cherubs on an octagonal base supporting a finely carved urn.

Art Deco sculpture in white marble representing a reclining odalisque, leaning on a cushion and holding a fan. The headdress is stylized, topped by a headband in the fashion of the 1930s and holds short, curly hair. The work on the face is fine and the look is accentuated by hollowed out almond-shaped eyes. The body is sculpted in the antique style and slightly androgynous. The young woman rests on a white marble base carved in the manner of a Turkish carpet, revealing geometric and floral motifs. A second base in Breche Medici supports the whole. Work of the French school of the early twentieth century. Base dimensions: 63cm x 22cm x 3cm (24.80 in x 8.66 in x 1.18 in) Overall dimensions: W: 65cm, D: 22cm, H: 40cm. Overall dimensions: W: 25,6in, D: 8,7in, H: 15,7in. THE FIGURE OF THE ODALISQUE IN ART Odalisques are virgin slaves of the Ottoman seraglio. They were offered to the various women of the Sultan...