Bright, practical and naive, this little gem is painted with motifs that suggest the intended contents and, should there be any doubt, the French word for tobacco is boldly emblazoned across the face. Beautiful, unbroken condition, with only some slight abrasion to the high points of the over-glaze. On the inside of the lid is an impressed hallmark: L & M, 65. French or German, circa 1870. Approximately 6-1/2 inches tall and 4-1/3 inches in diameter.

This sort of bouquetiere or pique-fleurs mural (cut-flower vase) was designed to stand close to the wall, or close to a mirror, in which its flowers would appear doubled. It was made in Moustiers, France, probably at Fouque factory (cf: Nouveau Tardy, Faiences de Moustier, page 98, fig. 185) in the third quarter of the Eighteenth Century. It displays the popular Louis XV motif of a central rococo cartouche with flags and arrows and a quiver...

The Little Corporal's boots, reinterpreted as table-match holders, stand by his boot-jack, which serves as striker. This finely crafted porcelain fantasy, probably French, is approximately 4/12 inches tall on a plinth about 4 inches by three inches. Condition is excellent, with only minor wear to the gilding at the top of the plinth, and a small under-glaze chip at the base.

In superb condition, this pair of Rouen faience is decorated with brilliant chinoiserie lambrequins. Bearing the the factory mark of La Veuve Levavasseur, they measure approximately 5-3/4 inches high and are four inches square at the flared tops. French, circa 1770.

Not exactly a nature-study, unless there is a strain of maize with blue husks that I have not heard of. Nevertheless, this is charming and well-detailed six-inch delight is in excellent condition, with a gilded base. French, of the second quarter of the Nineteenth Century.

Based on famous Eighteenth Century paintings, these country lovers, a smitten swain and the bashful object of his affection, were created by the famous Paris porcelain factory of Jacob Petit in the rue de Belleville around 1830 and probably were modeled by the sculptor Revenand. Their resplendent costumes, lavishly woven and embroidered, belie the couple’s humble origins: these are no field hand and barefoot housemaid, but a pair of courtiers playing peasants...