Standing upon a velvet covered flat circular base is an elegant lady, in fashionable, yet haughty pose, with composition head, brown glass eyes, leather eyelids, closed mouth with painted teeth, brunette mohair wig, carton torso with voluptuous adult female shape, unusual separate plate above the bosom allowing for breathing mechanism, elegantly posed shapely legs, composition hands with sculpted gloves. She wears an exceptional peach silk satin gown with low-cut bodice to emphasize breathing mechanism, straw bonnet, undergarments, stockings, sculpted black- heeled shoes. She has a pair of opera glasses in her right hand held daintily between the thumb and index finger, and a fan in her left hand. A brass plate on the base reads Vichy Paris, Marque Depose. The key is the ornamental fleur-de-lis design of Vichy. Movements: she turns her head to the right and lifts opera glasses to her eyes; appearing overtaken by the view she breathes deeply and her chest heaves; she turns to the left, nods and fans herself; throughout her eyelids open and close. At the end of the century, Gustav Vichy introduced a series of automata that represented Parisian society. His vision was humorous and satirical, as he gently mocked the pretensions of the nouveau- riche. The Lady at the Opera is an excellent example of this series with amusing motions. France, circa 1890, 26" (66 cm). Two tunes. Exhibits: Bagatelle, Paris, 1993.