THE GOLDEN AGE OF AUTOMATA

Saturday, May 15, 2004Lots 1-139

May 15, 2004 in Las Vegas, NV


The 19th century produced a wealth of luxurious mechanical dolls and toys known as automata. Made in small studios in Paris from the years 1848–1915, these playthings brought to life both exotic and everyday events of the times. Nearly 150 of these automata, from the collection of world-renowned collector Christian Bailly, are shown in this remarkable book – a must-have addition to Bailly’s own book, "Automata: The Golden Age," published in 1987 and long out of print. Included are commentary and foreword by Christian Bailly. 9" x 12". Hardbound. 190 full-color pages.

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Showing 1 - 139 of 139

Pierrot Serenading the Moon by Gustav Vichy
Pierrot Serenading the Moon by Gustav Vichy
Black Gentleman Smoker by Leopold Lambert
Dancing Children in the Pavilion
Dancing Girl by Gustav Vichy
Swiss Musical Carousel by Bernard Freres

Swiss Musical Carousel by Bernard Freres

Lot #5

A six-sided carousel is arranged upon a hexagonal base with glass and wooden column sides, the frame of precious wood decorated with inlay, an elaborately gilt lettered "Bernard Freres" on one bottom panel. The carousel has a canvas canopy decorated with scallops, lace, pearls, and colored glass baubles, and supports an elaborate arrangement of riders and vehicles: three groups of horsemen (black, brown and white horses in two sizes, with riders),three gondola chairs with passengers, two dancing dolls posed in front of a faux-street organ with monkey player. Movements: the carousel revolves merrily; the horses and riders move up and down, and the girls dance. By mid-19th century the railroad was well established throughout Europe. A local craftsman, Auguste Lassueur of St. Croix, Switzerland hit upon the notion of placing a series of musical mechanical objects in railroad waiting rooms as entertainment for passengers, but also, having a coin slot for operation, as a source of revenue for the station. There is a legend that thieves often wanted to share in the profits, too. To prevent this, Lassueur placed a 6mm caliber gun with blank cartridge inside the coin drawer; the blank was designed to fire when the drawer was illegitimately opened, alerting the railway staff to capture the thief! The Lassueur creations were of several styles; the musical carousel was considered the most charming and the quality of the music box extraordinary. Circa 1890. 24"H x 23"diam. (61 x 58 cm). Six tunes. Cabinet labeled Bernard Freres.

 
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Shepherdess with Lamb in Basket by Roullet
Chinese Opium Smoker by Gustav Vichy
Windmill and Pond with Fisherman,by Phalibois
The Snake Charmer by Roullet & Decamps

The Snake Charmer by Roullet & Decamps

Lot #9

An exotically sculpted woman of gesso and composition with rich amber-brown complexion, brown glass eyes, closed mouth, portrait- like features, and waist-length brunette hair has an entirely sculpted body with adult female shape posed with slightly bent right knee, and a separate plate above the bosom allowing for breathing. She has swivel jointing at upper right arm and lower left arm to allow articulation; the swivel joints are covered by elaborate gilt bracelets. Her costume is of metallic gilt threaded fabric interwoven with green faux- emeralds, and her elaborate headband is decorated with many faux-jewels. In her right hand she holds a trumpet; in her left hand is a snake that is wrapped around her arm. Movements: her head moves to and fro in a sensuous circular motion, her upper right arm pivots, bringing the trumpet toward her mouth; her lower left arm pivots which appears to bring the snake to life; the snake lifts his head, then lowers it as if charmed; her bosom lifts up and down as though she is breathing. Considered one of the most desirable of the turn- of-the-century automata with exotic pose and sensuous movements, the persona of the Snake Charmer remains a mystery. The international expositions in Paris in 1889 and 1900 stimulated interest in exotic cultures, to be sure. But, more specifically, the Snake Charmer was likely inspired by popular culture of the early 20th century. It is possible the inspiration was the French novelist Colette who, about 1905,performed as Salome in Paris theatres costumed in a sensuous bare-breasted manner that closely resembles Roullet & Decamps's Snake Charmer. And in his book Automata the Golden Years, Christian Bailly proposes Miss Paula, the Amphibian Woman, Trainer of Crocodiles and Snakes, who performed in scantily dressed costume to delighted Parisian audiences, or Nala Damajanti, the Hindu Snake Charmer, who performed at the Folies Bergere, as the inspiration. The early noted French automaton collector, Jacques Courtois, declared this piece "the pride and joy of the Decamps family - their masterpiece" noting that the figure was originally designed to be exhibited nude, but Madame Decamps opposed this on moral grounds. This explains why the body figure is fully sculpted rather than an unfinished armature form designed to be covered by a costume as was the norm; and, in fact, it is the only automaton so made. Fewer than fifteen of the automata are known to exist in the world, and so rare and intricate is the Snake Charmer that it was never offered in any catalog by that firm, being produced by special commission only. Roullet et Decamps. Circa 1900. 33 1/ 2" (85 cm). Six movements. Four tunes.

 
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Peasant Girl with Bird in Basket by Vichy
Little Girl with Basket and Bird by Lambert
Russian Girl with Egg and Flowers by Lambert
Monkey Harpist by Gustav Vichy
Acrobat Clown with Two Chairs by Vichy
French Rope Dancer with Two Musicians

French Rope Dancer with Two Musicians

Lot #15

Arranged on an ebony-finished wooden base, under a glass dome, is an elaborate setting displaying a graceful feat of rope dancing performed in front of a palace-like façade. The façade, made of cartonnage, has dimensional architectural details, grey painted walls with elaborate gilt decorations and red curtains; the backside of the façade is finished with early hand-painted wallpaper. On the platform in front of the façade an acrobatic performance is underway. A tightrope dancer appears to be posed on tip-toe upon a tightly strung rope, a balancing stick in her hands, while a musician is seated on either side, one holding cymbals. The figures are of paper mache with exquisitely painted facial features and fine silk costumes enhanced with embossed gilt decorations. Movements: she balances on one foot, raises up and down bending her jointed knees, lifts the balancing stick, and moves back and forth on the wire; while one man claps the cymbals and the other nods his head approvingly. The automaton is outstanding in the richness of its presentation, and delicate yet realistic movements. The art of balancing and dancing upon a tightly strung rope was popular with most Asiatic and European countries from earliest history. A long pole assisted the performer in keeping his balance. The act relied upon mechanics of balance, but the most notable dancers incorporated grace and delicacy into their act. Until the development of the common man's circus during the 1800åÁs,the act of tightrope dancing was mostly performed for the entertainment of royalty and privileged, as this example indicates. France. Circa 1860. 26" height dome (66 cm). Six movements. Two tunes. Exhibitions: Bagatelle,Paris,1993.

 
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Butterflies and Birds at The Duck Pond
Polichinelle Girl with Drum by Roullet et Decamps
Spanish Lady Dancer with Tambourine
Violinist Boy in Costume of Landres
Lady Magician with Three Surprises

Lady Magician with Three Surprises

Lot #20

A bisque-headed lady with very distinct and expressive portrait face, blue glass paperweight eyes, closed mouth with artfully painted lips, separate bisque shoulderplate with generously sculpted bosom, carton torso and legs, and bisque forearms is standing on a maroon velvet-covered flat wooden base. The bisque head of the lady, a commission sculpture from Jumeau, has Jumeau artist's checkmarks. The lady is wearing a very elaborate magician's costume of mauve silk with red silk jacket, each trimmed with soutache, and a red silk headdress with flowers and soutache embroidery disguising two paper mache gilded horns. The lady stands behind a wooden pedestal table with gold leaf finish covered with maroon velvet table cover decorated with fringe and embroidery. Arranged on the table are two over-turned silver flower pots and a gold die, each hiding a "surprise". Movements: the lady turns her head from side to side as though compelling attention, then she glances up and down in preparation for her surprise; her right hand that holds the magic wand moves side to side, then up and down; she taps three times with the magic wand and one of the three covers lifts to reveal the surprise hidden beneath: a glass-eyed monkey with mouth that opens and closes, a blue-eyed clown that saucily sticks out its tongue, or a pretty bisque-head girl with clasped bisque hands that blows kisses. The automaton, named Magicienne, No. 201,appeared in an early Roullet catalog described as having pieces a surprise. Priced at 180FRANCS this was one of the five most luxurious and expensive pieces offered by the firm, undoubtedly made to custom order only; few examples are known to exist. A favorite of Christian Bailly, another example of the model was featured on the cover of his book Automata, The Golden Years. Jean Roullet, France. Circa 1880. 31 1/2" height (80 cm). Eleven movements. Two tunes.

 
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Sold: $88,000
The Glutton as Red-Haired Character

The Glutton as Red-Haired Character

Lot #21

A highly characterized figure with cheerful laughing expression has a paper mache head, glass eyes, long pointy nose, rosy cheeks, teeth, very long tongue, red mohair wig with amusing topknot and side tufts, slender body, and very elongated fingers; a pastry is held in right hand. The figure is seated on the back of a chair, and the chair is arranged on a round base. The character wears plaid silk pants with double suspenders, green silk jacket over a short vest, and has a red umbrella resting at his side. There is a paper label at the front of the base. Movements: eyelids blink rapidly and alternately as though winking, right arm lifts to bring pastry to mouth; the very long tongue flits in and out rapidly as though licking the sugar on the pastry; left leg taps 3 times rapidly in succession causing the left hand resting to bounce, shoulders move up and down as though laughing. Eyes, tongue and tapping foot never stop moving on this highly characterized figure with bizarre hair and antic facial features. The figure seems torn between more eating, more flirting or simply breaking into a frisky dance. Although featured here in man's costume, it is possible the automaton was inspired by the Moulin Rouge performer Louise Weber, know as La Goulue (the glutton) whose exceptional dancing skills were only outpaced by her voracious appetite for food and drink, and his arrogant behavior. Henri Phalibois, France. Circa 1900. 40" (101 cm). Five movements. Two tunes. Exhibitions: Bagatelle, Paris, 1993.

 
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Waltzing Couple by Alexandre Theroude
Smaller Waltzing Couple
Monkey Harpist and Monkey Violinist
Marquis Monkey Smoker by Gustav Vichy

Marquis Monkey Smoker by Gustav Vichy

Lot #25

A monkey-person with composition head having leather-lidded glass eyes, painted reddish complexion with dark shadows around the nose and mouth, flocked moustache, grey mohair periwig, carton torso and legs, and metal hands is wearing an elaborate silk Marquis costume decorated with lace jabot and cuffs, bow tie, and silk buttons and topped by a Marquis hat with pom-poms. He holds a meerschaum cigarette holder in his right hand and a gilt-framed lorgette with unusual square shaped frames in his left hand, and stands upon a green velvet flat base. An internal system of rubber tubing allows the smoking action. Movements: in a highly detailed and realistic manner he turns his head from side to side, lifts his cigarette holder, inhales three times, lowers head, turns head to the center, pauses and exhales, lifts left hand with lorgnette while tilting back head, opens and closes mouth as though satisfied with the cigarette draw. The Marquis Monkey Smoker, named Singe- Fumeur, appeared in the department store catalog of Au Louvre in 1884 priced in the luxury category at 130 FRANCS. It also appeared in the catalog of the London toy merchant, Silber and Fleming, in 1885 described as "figure richly dressed in satin and velvet. In his right hand he holds a meerschaum cigarette holder, which he raises to and from his mouth, and from which, when a cigarette is put in, he smokes in a most perfect manner, moving it up and down to his mouth and puffing out the smoke." France,1875. 25" height (63 cm). Eight movements. Four tunes. Exhibition: Bagatelle,Paris,1993.

 
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Little Tich by Roullet & Decamps

Little Tich by Roullet & Decamps

Lot #26

Standing upon a wooden base is a highly characterized man with gentle expression and sweet smile, having a composition head, glass eyes with leather eyelids, mohair lashes and wig, painted clown lines on face, composition torso posed with one hand in pocket, very big oversized feet attached to the platform, and wearing a green woolen suit, yellow silk over-sized foulard, and vest, and carrying a brown derby in his right hand. Movement: he stands pausing as though waiting for attention so he can begin his performance, then alternately taps his large feet, alternately blinks eyelids, bends far forward while simultaneously lifting right arm, slowly raises himself while drawing his hat back to his body, and finally stands open-hatted, satisfied with his performance. The distinctive leaning-forward figure with over- sized shoes represents the English stage performer Henry Relph known as Little Tich. The highly characterized automaton face, unique to this model, was based upon photographs of the performer, as were the motions of the automaton. A little man, Relph wore flat shoes that were half as long as he was tall, and upon these,it was noted in reviews, he would dance, lean forward to pick up his hat, then rise and bow, extending his hat. After first wowing audience in England and the United States he debuted in Paris in 1896,becoming a close friend of Toulouse-Lautrec and the Montmartre society from which the inspiration for many automaton figures of the time was drawn. There is no record whether the Little Tich automaton was officially licensed by Roullet & Decamps although it is unlikely. In the 1908 Rapports de l'Exposition Franco- Britannique de Londres the juror Serre Telmon wrote of the Little Tich automaton that "its elegance is equaled by its ingenuity" Little Tich accompanies his dancing, his gestures and his legendary poses with blinking of his eyes." Few examples are known to exist. Roullet & Decamps, France. Circa 1910. 30" (76 cm). Six movements. One tune.

 
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The Happy Drunkard by Gustav Vichy
Young Boy with Fishing Pole by Vichy

Young Boy with Fishing Pole by Vichy

Lot #28

A bisque-head boy with blue glass paperweight eyes, open mouth, teeth, slightly smiling expression, brunette mohair wig, carton torso and legs, and bisque arms, is seated upon a velvet- covered wooden stool. He is wearing cotton knit shirt under an ivory silk shirt and brocade velvet vest, striped pants, shoes, socks, and straw fishing hat. In his left hand he holds a fish, in his right hand he holds a bamboo fishing rod with brass reel, and at his side is a woven lunch basket with sardines, biscuits, chocolate and a bottle of wine. The doll, by Jumeau, is signed Depose Tete Jumeau. The rare Vichy key with figural design is on the side of the stool. Movements: he lifts his right arm up and down as though casting the pole, periodically he leans his head from side to side, and kicks both feet; the Lioret phonograph plays a tune of children laughing, which according to the name on the cylinder, is No.1 Tararaboum. The cylinder phonograph, introduced by the French inventor Henri Lioret in 1892,was popularized in the doll and toy industry by Lioret's collaboration with Emile Jumeau in the presentation of the Bebe Phonographe. Henri Vichy saw the possibility of tapping into this new phenomena for his automata, and introduced the cylinder phonograph into his automaton line in 1895. Evidently the program was short-lived and very few pieces are known to exist today; Christian Bailly knows of only three examples. Henry Vichy, France. Circa 1895. 26" (66 cm) with chair. Three movements. Lioret recording.

 
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Artist with Palette and Brush by Decamps
Pastry Chef and Brioche by Roullet & Decamps
The Petit Cuisinier by Roullet & Decamps
Russian Tea Server by Leopold Lambert
Louisiana Black Man Smoker in Rocking Chair
Boy with Tart and Goose
Lady at Piano in Her Drawing Room
Waltzing Lady with Mandolin
Musketeer with Pistol on Wheeled Base
Lady with Flowers and Bird on Wheeled Base
Drinking Man with Moustache on Stilts
Black Man Singing on the Street Corner
The Advocate by Henry Phalibois
Girl with Bird Cage and Cherries by Lambert
Two Birds in Gilded Cage by Bontems
The Fruit Seller with Surprises
The Glutton by Henry Phalibois
Little Red Riding Hood by Roullet & Decamps
Mademoiselle Catherina Waltzing Lady
Soldier with Drum
Tableau Mecanique, Oil Painting on Tin
Gentleman Smoker with Smoking Poodle

Gentleman Smoker with Smoking Poodle

Lot #50

A dapper gentleman with composition head, blue glass eyes, leather eyelids, hinged jaw, double row of teeth, reddish mohair wig with sideburns, mohair lashes and moustache, carton torso and legs with sculpted black boots, composition hands with a meerschaum cigarette holder held in thumb and index finger of right hand, is wearing a foppish costume comprising white leather fitted trousers, silk vest with embroidered detail, white cotton shirt with tucks, pearl buttons and bow tie, purple velvet evening coat with tails, black top hat, and gilt-framed fob with faux-jewel, and is posed upon a flat red-velvet covered wooden base. Alongside is a wooden table with gold-leaf finish and hand-painted floral design, upon which is seated a paper mache poodle with fleecy and shaved coat, glass eyes, open mouth with hinged jaw, teeth, pink rosettes. A system of internal rubber tubes in the man and poodle creates the smoking function. Movements: the gentleman leans his head back and lifts cigarette holder to inhale, his mouth opens and closes as though inhaling, and the motion is repeated. Then he turns his head toward the poodle, the poodle turns to him, he offers a drag to the poodle, the poodle opens and closes mouth as though exhaling and his tail wags. Throughout, the man pets the poodle with his left hand, and the man's eyelids blink. The automaton was illustrated in an early catalog of Roullet & Decamps named Fumeur Fin de Siecle et son Chien, No. 294,at the luxury price of 150 FRANCS, exceeding by five times the cost of most other automata by that firm during that era. In the catalog illustration it is noted that the model was "Mod. Depose", i.e. patented. To trouble to patent a model was a rare occurrence for this firm and an indication of its prominence to the maker. Only one other model is known to exist today. By Roullet & Decamps, France, circa 1885. 32" (81 cm) Ten movements. Two tunes.

 
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Little Pastry Chef with Surprise Brioche
Little Girl with Fan and Hankie
Crying Girl with Polichinelle by Lambert
Smoking Gentleman by Gustav Vichy
Little Girl with Toy Theatre and Dog

Little Girl with Toy Theatre and Dog

Lot #55

A bisque-head girl with brown glass paperweight eyes, closed mouth, long brunette mohair wig, carton torso and legs, composition lower arms, is standing upon a flat green velvet base. She wears a maroon velvet and ivory silk dress with lace and ribbon trim, maroon velvet shoes, and lavish straw bonnet. A wicker basket is attached to the side of her torso, decorated with green silk ribbons; hiding under the basket lid is a white dog. A toy theatre is attached to the other side of her torso, decorated with rose and yellow silk draperies, a red silk curtain, and gilt metal ormolu decorations; inside the theatre is an acrobat. The bisque head, signed 12,is the Bebe Triste model by Jumeau. The automaton key is marked G.V. The three musical tunes, Le Petit Bleu Valse, La Cour et la Main [word illegible],and La Princess de la Canaries are listed on the underside of the theatre. Movements: the girl turns to the left, the curtain arises, and the acrobat performs a complicated series of movements including tumbling, reversals and balancing; the curtain comes down; she turns to the right and blows kisses, the lid of the puppy's basket arises and the puppy waves a friendly greeting with one paw. The automaton was offered in the 1884 Paris department store catalog of Au Louvre at the extraordinary price of 290 francs, about ten times the cost of a luxury doll in the same catalog. Only one other example is known to exist at this time, but not having the Bebe Triste head, an exceptionally rare feature. Gustav Vichy, France, circa 1883. 30" (76 cm). Seven movements. Three tunes. Exhibits: Bagatelle, Paris, 1993.

 
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Sold: $49,000
Village Scene of the Monkey Barbershop

Village Scene of the Monkey Barbershop

Lot #56

Rich painting depicts a humorous and satirical scene of mid-19th century village French barber shop peopled by three costumed monkeys. One monkey is being shaved by the barber monkey, and a third sits nearby. The painting is well detailed including posters and political graffiti on the walls, barber accoutrements, violin, and furniture. The open door of the barber shop looks out on a village street scene. The painting is enhanced by dimensional details including the ceiling and street scene. There is a working clock on the barber shop wall, and a clock mounted within the gilt frame. The gold leaf wooden frame is a rich contradiction to the simple furnishings within the shop. A very rare tableau mecanique; only three of this style are known to exist and each is different. The presentation of monkeys in humanistic poses was a popular motif in France as early as the reign of Louis XIV when the decorator Berain used the theme in his arabesques. During the Regency period the appearance of monkeys in human scenes was allegorical and spiritual. Finally, during the mid-19th century the presentation became one of amusement and irony. Monkeys in human form and poses appeared in paintings, statuary and as tableau mecaniques, and were often a teasing mockery of the pomposities of the bourgeoisie. Tableaux mecaniques (paintings with mechanical movements and music) could be activated either by spring or sand-driven mechanisms. Although the actual mechanism appears simplistic, the action, usually with coordinate music, is fairly intricate and realistic. Few can be absolutely identified by their maker, although stylistically some can be attributed to Tarin and occasionally the name of the selling merchant appears on a piece. The actual paintings are almost never signed by the artist, French, attributed to Tarin, Circa 1850,32" x 36" (81 x 91 cm). Two clocks, four movements. Two tunes.

 
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Sold: $22,000
Monkey Marquis with Harp by Gustav Vichy
Monkey Marquis with Violin by Gustav Vichy
Music Hall Monkey at the Piano
Monkey on Barrel with Clock by Phalibois
Little Girl with Mirror and Powder Puff
Little Girl with Perfume and Hankie
Lady with Mirror and Powder Puff
Lady at Toilette Table by Gustav Vichy

Lady at Toilette Table by Gustav Vichy

Lot #64

An elegant bisque poupee is standing behind a dressing table as though preparing herself for an evening's gala. The poupee has bisque head with blue glass enamel eyes, closed mouth, and highly refined complexion and painting of features, blonde mohair wig in original coiffure, and separate bisque shoulderplate and bisque lower arms, carton torso and legs with elaborate jointing mechanism at hips allowing bending motion. The lady is costumed in an extraordinary ivory and maroon silk satin gown with elaborate embroidery, jewelry, and holds a powder puff in right hand and a mirror in the second hand. The lady is attached to the wooden toilette table by a metal rod; the table is decorated with rich silk and lace trim and has a mirrored back and gilt ormolu crest. Movements: the lady stands upright, leaning backward and turning her head to gaze into the hand mirror held in her uplifted right arm; she nods approvingly; then leans far forward to look into the toilette table mirror, lifts her left hand and powders her nose. The very rare automaton, of which few are known to exist, was offered in the first catalog of the prestige Paris department store, Au Louvre, in 1878. Named Poupee a Sa Toilette, the catalog described her rich costume with extended train, and toilette table garnished with mousseline and silk damask, and concluded its description with the remark "article tres riche." France, circa 1875. 24" to top of mirror. Seven movements. Two tunes.

 
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Sold: $25,000
Lady at the Opera by Gustav Vichy
Lady on the Park Bench by Gustav Vichy
Ship in Harbour with Windmill and Waterfall
Lady at the Spinning Wheel with French Clock
The Harpist by Jean Roullet
Portrait Lady Juggler by Jean Roullet

Portrait Lady Juggler by Jean Roullet

Lot #70

A bisque-head lady with exquisite portrait model face has blue glass paperweight eyes, closed mouth, artistic painting of facial features, separate bisque shoulderplate with modeled bosom, carton torso and legs, bisque forearms. She wears an elaborate circus performer costume of harlequin design in rich silk shades of blue, yellow and red with metallic soutache embroidery, and is posed upon a green velvet- covered flat wooden base. A sturdy metal rod attached to her torso serves as a balancing rod for her huggling performance. Posed on the tiptop of the balancing rod, balanced on one foot, is a small bisque doll with glass paperweight eyes and closed mouth, costumed similarly to the lady. In her right hand the lady holds a fan. The bisque lady head is from Jumeau; the smaller bisque head is by Gaultier. Movements: the lady turns from side to side and waves her fan as though to capture attention from the onlookers. Then, while nodding her head, the little boy pivots on his balancing toe, all the while shaking the tambourine he holds in his uplifted hand. An earlier version of a juggling performer was made by Roullet about 1867; shown as #93 in this book,it featured a paper mache man juggling a small doll on his nose. This example, from the rare early series of luxury automata created during the era of Jean Roullet, features an exquisite bisque doll head with portrait features, and was shown on page 121 of Bailly's Automata, The Golden Years. An identical model was shown in their early catalog as No. 175 although identified as Japonaise and featuring a Japanese lady juggler. Other automata in the luxury portrait head series include Pfifferari (#69) and Lady Magicienne (#20). Jean Roullet, France, circa 1880. 29" lady (74 cm) 39" with pole. Five movements. Two tunes. Exhibits: Bagatelle, Paris, 1993.

 
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Acrobat Clown on Ladder
Juggling Clown by Gustav Vichy
Organ Grinder by Gustav Vichy
Five Birds with Pond and Waterfall
Ethiopian Harpist with Leather Head
Ethiopian Harpist with Leather Head
Lady with Violin by Gustav Vichy
Lady in the Garden by Jean Phalibois
Dancing School with Musicians and Dancers
Lady Flower-Seller with Surprises
The Black Man Magician by Leopold Lambert
Village Scene with Clock and Music
Village Scene with Bridge and Clock Tower
Marquis as Mandolin Player by Jean Roullet
Bird in Gilded Cage by Bontems
Little Girl with Basket of Berries and Mouse
Singing Bird in Gilded Cage by Blaise Bontems
Little Girl with Fan and Flowers
Black Portrait Man as Flutist
Black Banjo Player by Gustav Vichy
Petite Pierrot Strumming the Mandolin
Lady Seated on Stool with Mandolin
Juggler Man with Guitar by Jean Roullet
Lady with Chicken in Market Basket
Bird in Gilded Cage by Blaise Bontems
Lady Seated at Piano by Jean Phalibois
Lady Playing the Piano by Gustav Vichy
The Bell-ringer on Tricycle
Cavalier in Standing Pose with Violin
Chinese Opium Smoker by Gustav Vichy
The Chinese Magician by Adolph Mueller
Singing Birds and Waterfall
Seated Lady with Guitar
Tableau Mecanique, Birth of Henri IV
Oil Painting on Tin with Clock in Tower
Mephistopheles by Leopold Lambert

Mephistopheles by Leopold Lambert

Lot #106

A highly characterized composition head depicting Mephistopheles, the head unique for this automaton, with exaggerated sharpness of nose, jaw and chin, has brown glass eyes, leather eyelids, richly colored reddish complexion, open mouth with hinged jaw, double row of teeth, red mohair brows, beard and moustache, composition hands with defined modeling, carton torso and legs in stylized stance upon a velvet-covered wooden base. He holds a wooden mandolin with fine inlay detail in his hands, and he wears a dramatic costume of red silk and black velvet with rich metallic trim, red silk hat with gilt metallic trim and feather, black velvet shoes, along with silver sword at his side. The key is marked L.B. and a paper label at the side lists four tunes, all from the opera Faust by Gounod. Movements: as he seductively strums his mandolin by pivoting his wrist from side to side, he leans his head from side to side and forward in a circular movement, his eyelids open and close, and his mouth opens and closes as though singing. Mephistopheles was featured on the first page of the original Lambert catalog, listed as #1,an indication of its significant to the Lambert firm and a marked departure from the pretty girls and elegant ladies mostly evident in the firm's production. The devilish character represented Mephistopheles as he appeared in the opera, Faust, by Charles-Francois Gounod. The opera had first appeared in 1859 and, so beloved was it, that by the time of Gounod's death in 1893 it had been performed more than a thousand times in Paris, notably at the Garnier Opera House that had opened in 1874 and remained a center of social life for the affluent Parisians that were likely purchasers of luxury objects. In the opera, the demon describes his costume, including sword, plumed hat and rich cloak all of which are worn by Lambert's Mephistopheles. Leo Claretie, the early French toy collector and historian wrote a report in 1900 of the appearance of Lambert's Mephistopheles at the 1900 Universal Exhibition in Paris "rolling his eyes devilishly" and "wearing red tights and red sequined costume". France, circa 1886. 36" (92 cm). Five movements. Four tunes. Exhibits: Bagatelle, Paris, 1993; Hospice Saint- Charles, Liege, 1994.

 
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Lady Flower Seller with Surprise
Dancer on Tightrope
Loie Fuller Portrait Dancer
Bisque Spanish Man Dancer with Tambourine
Bisque Twirling Lady with Tambourine
Little Girl with Fan and Flowers
Pageboy with Mandolin on Tree Trunk
Country Lady with Bird in Wicker Basket
Bisque Mephistopheles by Leopold Lambert

Bisque Mephistopheles by Leopold Lambert

Lot #115

A bisque head portraying Mephistopheles with dramatically stylized features of the devil as portrayed in Faust, very angular face with elongated nose, seductively smiling expression, brown glass eyes, incised wrinkles, pointy ears, has carton body and torso, and sculpted bisque hands, and is posed in theatrical performing stance. He holds a wooden mandolin, and is wearing an extravagant costume of cerise and burgundy silk and velvet, with fitted leggings, felt slippers, cape, cap, and has black velvet purse with silver trim, and a silver sword. The head and hands are each signed L.B. Depose. Movements: he moves his head in a circular nodding and side-to-side movement, and strums the mandolin. Mephistopheles figured as the pivotal character of the Lambert line, the composition-head version being listed as No. 1 in their catalog. This, the bisque version, is exceptionally rare, the only one known in the world. As the automata remained in the possession of the Lambert family until 1987,then passing into the collection of Christian Bailly, it is possible the model was a prototype or special commission that was created only this once. In his book, Automata, the Golden Year, Christian Bailly wrote of this bisque model, "The head and hands are so beautifully sculpted that they appear to be alive, the face's extraordinary expressiveness, the malicious look in the eyes, the almost palpable wrinkles, the hands' graceful pose, all are worthy of a master sculptor." France, circa 1890. 36" (90 cm). Three movements. Four tunes.

 
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